Roger Murray | Anomaly : {Suite} Wellington
In science, an observation that differs from expectation generated by an established scientific idea is known as an Anomaly. These anomalous observations require scientists to reconsider an idea or theory. I was interested in how this reconsideration brings tension and change to an accepted fact.
In his latest exhibition, Anomaly, Roger Murray ventures into a realm where art and science converge. Building on the thematic foundations present in his previous showcase, Procession, Murray explores concepts that encompass sacred geometry, unconventional numerical patterns, and the limits of cognition.
Murray reflects on mathematical principles that extend beyond conventional geometric ranges, exploring moments in time and space where a state transition occurs and the tension inherent to this process. Incorporating resin and metallic powder, his works simulate the fluidity and dynamism of nature, referencing the nuanced relationship between patterns and irregularities, order and chaos.
Psychiatrist George Miller's cognitive insights into the constructive nature of human memory likewise inform the conceptual underpinnings of Anomaly. Murray explains:
The idea of there being a limit to the cognitive state before it lapses means that when you are looking at a work it is too much for you to really take in and remain in your memory. This is the work that is at your inflection point. Will it transcend to become metaphysical?
Further expanding the themes of Procession, Murray delves into thoughts surrounding cell division and structure. Drawing inspiration from mitosis, he captures the anomaly within cells reaching the brink of fragmentation while remaining a cohesive unit. This tension within the cellular structure becomes a metaphorical exploration of anomalies, mirroring the intersection of science and art.
