Having only graduated from his MA at the Royal College of London in 2012 Oscar Murillo already has an impressive international presence in the art world. Since graduating three years ago he has had work shown at the Saatchi, been included in the MoMA’s ‘Forever now’ show earlier this year and now he has his first solo show ‘binary function’ at David Zwirner’s London Gallery.
This exhibition is dominated by painting, but not in any conventional sense. Most paintings in this exhibition defy predictable painting methods with many canvases made from what the viewer can imagine is multiple paintings, cut and then sewn together to make whole collaged canvases. Although the materiality of canvas can be seen throughout the exhibition, this show is not exclusive to painting but also incorporates drawing, print, sound, sculpture, installation and film as an example of Murillo’s diverse practice.
In the opening room of the exhibition viewers will find 4 unusual canvases displayed at such close proximity to one another that from afar one might think they were a whole, but each canvas is named individually creating a universal language between techniques and materiality. Around the corner is a new video installation of Murillo’s where the audience is invited to sit in a mis-match of plastic garden chairs to watch footage of what appears to be a street party. These seats are replications of those seen in the footage, creating a physical connection between viewer and the people that are far away in the time and place that this video captures. The audio of this installation varies between on site sounds and compositional music that changes the dynamic and narration of the piece as it alternates between the two. This audio permeates throughout the whole exhibition extending the narrative to the right now of the exhibition space.
On the first floor viewers will be hit with the strong smell of paint and the sight of multiple black canvases that are hung, piled and strewn around the space. Again these canvases use Murillo’s signature technique of being sewn together on a large scale, allowing viewers to appreciate the grand scale of their production. Viewers are forced to walk over these black paintings, creating delicate outlines of their dusty footprints on the black fabric. This interaction creates an unusual relationship between the work and viewer as our physical presence marks and develops the patchwork fabric pieces that are reminiscent of the works displayed on the walls in front of us.
In this exhibition Murillo merges the boundaries between painting, sculpture and installation. The curation of this show creates a tension between the intentional and the accident, as both are included on par with one another. Murillo’s works have a sense of ‘more’ beyond them, demonstrated directly in the way he crops and sews canvases, Murillo denies us of viewing all of one but instead a part of many, challenging the viewer with this inclusive/exclusive painting stlye.