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Work Samples

Eyelydian Documentation

A demonstration of the 360 VR Video Eyelydian.

Antennae

Antennae is an interactive virtual reality experience set in a greenhouse that presents a dreamlike narrative about our vulnerability to the pervasiveness of broadcast media. Virtual reality interactive narrative for HTC Vive. A work-in-progress demo.

Fake Believe

Fake Believe -- Fake blood watering fake flowers. In this time when we call fake things real and real things fake, what are we growing? This video references a nature-documentary photographic style, shot in high-framerate slow motion, as fake blood rains onto national flowers. Digital video, 3:38, 2017.

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About Ryan

Baltimore City

Ryan Murray's picture
Ryan Schmal Murray creates conceptually-driven artwork that combines digital and physical media. His work addresses the search for moments of meaning by altering pop-culture media and transforming everyday objects or experiences into subtle psychedelia. Murray was born in Pittsburgh, PA. He received his BFA from Carnegie Mellon University and his MFA from the University of Illinois at Chicago. Murray’s artwork has been exhibited internationally in galleries, museums, screening tours,... more

Eyelydian

Eyelydian is a 360° video that uses abstraction, animated geometric patterning, and photographic images to call to mind the colors, patterns, and visions seen as light filters through closed eyelids.

Desktop: click and drag around the image to view the 360° image
Mobile phone: move phone around to view the 360° image
Google cardboard, etc: open link in YouTube app, click VR headset icon, view in headset

360° digital video
3:15
2018

Antennae

Antennae is an interactive virtual reality experience set in a greenhouse that presents a dreamlike narrative about our vulnerability to the pervasiveness of broadcast media.

You awaken in a greenhouse. The fluorescent lights are harsh and buzzing. There are empty pots and an old watering can. You set to work watering flowerpots, but instead of flowers, television antennas and satellite dishes grow. You pick them and install them in your body. Grating, garbled audio broadcasts overwhelm you. Something is at the door. A monstrous insect, covered in television antennas enters. You rise up above the greenhouse. Houses stretch out in all directions, each rooftop covered in satellite dishes and antennas.

virtual reality interactive narrative for HTC Vive
in-progress, 2018-19

  • Antennae

    still from Antennae
    still from virtual reality interactive narrative for HTC Vive. In-progress.
  • Antennae

    Antennae is an interactive virtual reality experience set in a greenhouse that presents a dreamlike narrative about our vulnerability to the pervasiveness of broadcast media. Virtual reality interactive narrative for HTC Vive. A work-in-progress demo.

Fake Believe

Fake blood watering fake flowers. In this time when we call fake things real and real things fake, what are we growing?

This video references a nature-documentary style, shot in high-framerate slow motion. It depicts fake national flowers watered with fake blood.

Digital video
3:38
2017

  • Fake Believe

    still from digital video, 3:38, 2017
  • Fake Believe

    Fake Believe -- Fake blood watering fake flowers. In this time when we call fake things real and real things fake, what are we growing? This video references a nature-documentary photographic style, shot in high-framerate slow motion, as fake blood rains onto national flowers. Digital video, 3:38, 2017.
  • Fake Believe

    still from digital video, 3:38, 2017
  • Fake Believe

    still from digital video, 3:38, 2017
  • Fake Believe

    still from digital video, 3:38, 2017
  • Fake Believe

    still from digital video, 3:38, 2017
  • Fake Believe

    still from digital video, 3:38, 2017
  • Fake Believe

    still from digital video, 3:38, 2017

Middle

Middle is an altered found footage/reenactment video that explores three meanings of the middle finger. The video is broken into three sections: a montage-supercut of children’s YouTube videos about fingers, a series of censored, crowd-sourced reenactments of the 90s teen rebellion music video for Smashing Pumpkin’s “1979”, and a group of movie action sequences in which characters hang from ledges by their middle fingers.

Password: thebird

Digital video
5:25
2018

  • Middle

    still from Middle
    still from digital video, 5:25, 2018
  • Middle

    password: thebird
  • Middle

    still from Middle
    still from digital video, 5:25, 2018
  • Middle

    still from Middle
    still from digital video, 5:25, 2018

Perfect Pixels

Video loops on four wall-mounted digital picture frames, gaffer tape

Perfect Pixels is a video sculpture series in which the Rule of Thirds intersection pixels of classic films are highlighted and magnified on four wall-mounted screens. Each installation of the series displays the perfect pixels from a film that won the Academy Award for Best Cinematography, showing the entire runtime of the film in a loop. Marked with the Rule of Thirds guidelines, the otherwise blank wall serves as the remainder of the film’s aspect ratio.

The Rule of Thirds is the compositional principle that divides an image into thirds vertically and horizontally. Cinematographers align subjects along those guides to create the most visually interesting composition. The points where these lines intersect are said to be the most visually powerful in the composition. Drawing this idea to its logical conclusion, the exact pixels at those points should be the most perfect pixels throughout the entire film.

The individual pixels are so small that you might not be able to see them blinking. But when they are magnified, they become colored flicker films, charged with the most important visual information in their original source film.

2016-18

  • Perfect Pixels

    Video loops on four wall-mounted digital picture frames, gaffer tape, 2016-18

Space Helmet

Globe, papier-mâché, box, antennae, plastic tubes, spray paint, plastic film, video monitor, 2 minute digital video loop

Space Helmet is aesthetically inspired by a 1950s B-movie view of the possible future. This sculpture features a globe turned into a space helmet, used for a performative planetary landing, and finally displayed as a television. As a child, I was certain that by my adulthood, the human race would have succeeded in landing on many of the planets and moons in our solar system. In my adulthood, economics, politics, priorities, and public interest have conspired to make that potential human achievement seem more and more like an impossible fantasy. In this video sculpture, I imagine what we might say for posterity if we were to land on another world.

2014

Every Feature Film On My Hard Drive, 3 Pixels Tall and Sped Up 7000%

Every Feature Film on My Hard Drive, 3 Pixels Tall and Sped Up 7000% is a kind of structural, found
footage experience of media hyperavailability. It has become so easy to amass personal, virtual libraries
of cultural artifacts, and by creating this piece I was thinking about how to use that enormous wealth of
material to generate new work. I conceived of this piece as painting with films. By compressing each
movie into a stripe of color and duration, and lining them all up together in a single frame, the whole
history of my film-watching is experienced as a single painterly composition.

Digital video
3:29
2013

All Things

Skywriting of the word "insurance" disappears as new rays of light dawn. Nothing lasts forever.

Digital Video
1:30
2013

Picture Frame

Digital images, digital picture frame

Picture Frame creates is a détournement of the animated digital photo frames usually found displaying
images of family and friends. These devices occupy a wonderful “the-future-is-now” meets “sure to look
dated” cultural space, but in this work the frame itself becomes both canvas and subject. By recursively
displaying pictures of itself showing pictures of itself, the frame slowly creates a wormhole. This portal
suggests science fiction aesthetics, space travel in films from the psychedelic sixties, and minimalist film
and painting compositions. The magical-yet-kitschy nature of the object then recedes back until only the
blank frame is left once again

2012

Lost

Inkjet on paper, exposed to water and sunlight, in plastic sheet protectors

The Lost series is a group of hundreds of “lost” flyers that have been exposed to the elements. Walking around the city, I have often seen lost posters searching for sadly missing possessions or pets. From time to time, I see a flyer that someone has placed in a plastic sheet protector to shield it from the weather. Although their creators had the best of intentions, these protectors have only served to lock in moisture and condensation, dissipating the photograph. Instead of depicting whatever has gone missing, the image itself has become lost. But despite the sadness inherent in the object, there is a captivating beauty in the abstraction of the displaced ink. This series distills that experience to its essence: a plastic sleeve, the word “LOST”, and a dissolved inkjet image.

2014

  • Lost

    inkjet on paper, exposed to water and sunlight, in plastic sheet protectors
  • Lost

    installation at the Whitaker Gallery, Hood College, Frederick, MD
  • Lost

    inkjet on paper, exposed to water and sunlight, in plastic sheet protectors
  • Lost

    inkjet on paper, exposed to water and sunlight, in plastic sheet protectors
  • Lost

    inkjet on paper, exposed to water and sunlight, in plastic sheet protectors
  • Lost

    inkjet on paper, exposed to water and sunlight, in plastic sheet protectors
  • Lost

    inkjet on paper, exposed to water and sunlight, in plastic sheet protectors
  • as close as our dreams, as far as our fears

    An interview by Adam Farcus about my solo exhibition Lost, which included the works Lost, Space Helmet, and Console.

    PDF icon as close as our dreams, as far as our fears

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