Eli Langer and Jennifer Murphy at Clint Roenisch Gallery

In Jennifer Murphy’s fifth exhibition at Clint Roenisch Gallery, she collaborates with Eli Langer, to exhibit their new series in a harmonious fashion. The Toronto and California based artists were inspired by a trip to the Institute of Mentalphysics, located in Joshua Tree, California. The Institute is a 700 foot long building designed by Frank Lloyd Wright and his son Lloyd in 1946, and was named the Caravansary of Joy. Mentalphysics is based on philosopher Ding Le Mei’s philosophy that the mind created reality. Murphy and Langer carry out the idea with their compact cohesive pieces, dispersed in a rhythmic way throughout the gallery.

Clint Roenisch Gallery is conveniently split up into two spaces. The smaller front gallery houses Langer’s approximately tabloid sized paintings. At first glance they appear abstract, but distinct shapes form when given time. Muddy patches of colour, light washes and brush textures adorn the paintings. Each one mostly different, yet uniform and hung in a straight queue on the right side of the wall, with the exception of one that hung lower.

Eli Langer, Feminine Figure, 2015, oil on canvas, 16 x 20 inches. Photo: Jimmy Limit. Courtesy of Clint Roenisch Gallery

On the opposite acute angled wall, three paintings hung by hinges. The hinges were placed behind the paintings, letting the paintings protrude out on the left side, approximately 30 degrees away from the wall. Angled works in an angled wall, creating an obscure effect. They appear to be floating off the wall. Reminiscent of open windows. If the mind created reality, then these paintings must be a reminder that our eyes are windows.

Eli Langer, Apothecary, 2015, oil on canvas, 16 x 20 inches. Photo: Jimmy Limit. Courtesy of Clint Roenisch Gallery

Installation view, Eli Langer, Caravansary of Joy. Photo: Jimmy Limit. Courtesy of Clint Roenisch Gallery

The light and colourful abstract figures are a departure from Langer’s better known dark and reduced colour palettes. The exception being a solitary work, hung at the end of the room, near the entrance to Murphy’s collages, a black canvas with sparse blue and white gestures.

On the adjacent wall towards Murphy’s exhibit, hangs a large framed collage of women with flowers. What follows is an assortment of rhythmic assemblages, wrapping all four walls, breaking at the door frame. The pieces flow in a rhythmic wave.

Murphy’s collages consists of connected lines with contrasting elements. Her common vocabulary that she has exhibited before, is a selection of foxes, snakes, birds, flowers, leaves, mummies, and vintage portraits of women. She finds these glossy clippings in various books and magazines, avoiding the internet. The images are delicately arranged, fusing animals together, or finishing a figure with plants and leaves. Each piece has an endearing style to them, yet carry a diabolical Frankenstein experiment feeling of various natural elements coming together. Regardless of how extreme are the parts, the outcome is strikingly beautiful.

Jennifer Murphy, Caravansary of Joy, detail. Photo: Jimmy Limit. Courtesy of Clint Roenisch Gallery

Jennifer Murphy, Caravansary of Joy, detail. Photo: Jimmy Limit. Courtesy of Clint Roenisch Gallery 

Jennifer Murphy, Caravansary of Joy, detail. Photo: Jimmy Limit. Courtesy of Clint Roenisch Gallery 

In the middle of the room, colourful and playful elongated sculptures rest on a slightly elevated, glossy black sheet. Made of crafty supplies like stacked spools of thread, yarn, and painted sticks whose ends sprout double sided flower cut outs. One of them included an old style wooden pallet that an artist might use to paint.

Installation view, Jennifer Murphy, Caravansary of Joy. Photo: Jimmy Limit. Courtesy of Clint Roenisch Gallery

Jennifer Murphy, Caravansary of Joy, detail. Photo: Jimmy Limit. Courtesy of Clint Roenisch Gallery

Jennifer Murphy and Eli Langer have created their own natural inspired reality in Roenisch’s space, inviting strangers to explore and investigate their  intricate pieces. They are closely marrying themes of craft and painting, letting the context of the gallery bring it to a fine art level.

Tetyana Herych

*Exhibition information: March 19 – April 25, 2015, Clint Roenisch Gallery, 190 St. Helens Avenue, Toronto.

Leave a Reply

Your email address will not be published. Required fields are marked *