Artist Statement

Artist Statement

My photography and art practice is influenced strongly by my professional training in cultural geography. My artwork is conceptually-driven, and simultaneously personal and political. In my visual arts practice, I am drawn to understanding diverse relationships between identity, place and environment. On the one hand, my work explores the intersections of cultural and natural systems, including human-animal relations, conservation, urban nature, streetscapes, architecture, capital exchange and natural elements. On the other hand, I also delve into political and psychological work that captures shifting moments of selfhood, identification and belonging.

For information on my academic work, see: https://uws.academia.edu/AndrewGormanMurray

Contact me via email: andrewgm3 [at] gmail.com

Copyright Statement

Copyright Statement

All images and text statements appearing on this website are copyrighted © 2013-2015 Andrew Gorman-Murray. Images may not be reproduced, copied, transmitted or manipulated without the written permission of Andrew Gorman-Murray. Citation of text is permitted providing the author (Andrew Gorman-Murray) and source (this website) are correctly attributed.

Empire: Fabricating Interior and Exterior Housing Systems

Damask/FDC Construction Fitout Refurbishment, 2014.
Inkjet Print on Museum Velum, 42cm x 29.7cm.

Argyle/John Holland Construction, 2014.
Inkjet Print on Museum Velum, 42cm x 29.7cm. 

Herringbone/Richard Crookes Constructions, 2014.
Inkjet Print on Museum Velum, 42cm x 29.7cm.

Tapestry/Tony Owen Partners, 2014.
Inkjet Print on Museum Velum, 42cm x 29.7cm.

Empire explores transformations of residential spaces and housing systems in contemporary cities under post-colonial capitalist regimes. Empire focuses on buildings undergoing residential re-purposing in Sydney’s inner west – a site of gentrification and class-based displacement. The work responds to critical axioms of political economy: capital colonises ever-new spaces; capitalist landscapes are unstable; infrastructure melts into air; bourgeois architectural systems, interior and exterior, are constantly reworked in the pursuit of profit. In capitalist housing ventures, economic, financial, material and aesthetic systems intersect to ensure the survival of capitalism. These spheres ‘infect’ each other: bourgeois aesthetics are an avenue for propagating and selling ever-more profitable housing systems. Infrastructure, economics and taste inflect each other. As such, capitalism colonises home environments, just as it has colonised the globe.

Empire explores these concepts through photomontage, and the juxtaposition of ‘viral’ interior and exterior housing structures – fabrication and textiles. The cross-infection of interior and exterior systems provokes consideration of how capitalism invades interstitial spaces to colonise intersecting systems at the same time. Capitalism ‘re-knits’ interconnected spaces – the private and the public, the internal and the external – in order to ensure its enduring success. Textiles and viruses are significant motifs of colonisation. Textile manufacturing was integral to the development of modern urban-industrial capitalism, and a critical market for international competition (which sometimes took martial as well as commercial forms). Meanwhile, the imperial expansion of capitalist nation-states from Europe across the world led to the international exchange and global transmission of new viruses and diseases (e.g. Syphilis, Ebola, HIV) – while imperial-capitalism itself spread virally, reaching into and integrating all corners of the globe.

Installation photograph, COFA, D Block, 29 October 2014.


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