Julie Murray

Time spent at two shores, one thinly populated, the other a wasteland, joined by the interluency of various paths taken, each bit real enough, though exact measures being obscurely indicated. Notions of home and its ache are, to borrow a phrase, “not capable of being told unless by far-off hints and adumbrations”.

Much of the footage that comprises Orchard is of a 19c ruins that included a walled orchard in and area known as Rostellen in southwest Ireland. It is set deep in the woods and the crumbling brick and mortar of the broken walls has become the anchor for the roots of slender trees, so uninhibited for all this time that they reach twenty feet in height and have thick roots that follow like slow lazy trickles of water and in other places branch and wind over the brickwork in an arterial arrangement reminiscent of the human body. Some footage of Central Park is in there, as well as Niagara Falls, the main Dublin-to-Cork road and a thin smoking woods on the outskirts of Rosslare, Co. Waterford These are facts may be incidental to the film’s eventual form, which winds the images into an arrangement of continuous wandering. All this is attended by environmental whispering sounds until a voice calls out toward the end, in dream-bound recognition, to a figure from the far, far past.

Cyan is assembled from numerous 16mm film workshops. Some of the footage is found, most is made, much of it filmed by participants themselves. Accumulated between 2004 and 2014.

No description available.

Tr'Cheot'My P'y is a hiccuping audio news segment to which footage from many sources is loosely choreographed. The film is intended as a portrait of the body and embodiment, systems of information and representations of the body itself.

In this montage a melding of camera original and found material hints at a realization which is evident only in the fissures of splintered associations. Obscured among visceral absurdities and lightweight witticisms there seeps a viscera, an acrid recollection, coiled in the intangibles of puzzled shadows.

A cardboard box with a pinhole in one end and a sheet of vellum on the backside, so that the sun fluttering among the trees is projected onto it. This moving image edit is derived from about 4 or 5 takes on the day venus was to cross the sun's path. As it turned out I got the day wrong, but it wouldn't have mattered as the image that formed on the vellum was so soft and wispish and the trees were in the way that there was no chance whatsoever venus could be seen passing by.

A body of water, the body of the sky and figures on ground, shored against one another in rhythms of waves abrading a field framed for a new anxiety. - Julie Murray

"It shows my interest in materials, medium, and apparatus of cinema. The sound will be produced from the visual on the optical soundtrack – for some parts, I used a 35mm still camera to expose the soundtrack area, and I scratched off the film emulsion directly for other parts. This is my senior thesis project at Binghamton University, and Julie Murray was my advisor." (Tomonari Nishikawa)

A brief account of visual moments recorded at Kalona Horse Sales Barn auction, IA. The animals are numbered as in some cases are their days.

Calculating the angle of awe at a gas station in rural Midwest.

A 16 mm. experimental film.

A film by Julie Murray

Experimental short by Julie Murray.

No description available.

Convolves the aberrations found within two image-making technologies; film and video, which here combine to produce a heap of dichotomies and forensic textures of process, like human imprints in sand.

Scenes from a found roll of martial arts movie footage is unspooled past a video camera on a light table, stopping and starting to pick out parts of the narrative. The archly formal play of fights, betrayal, dishonour and ruined friendships is accompanied by ambient sounds of a city going about its routine business outside.

A dark meditation on father-son relations.

Children's 3-D toys and insects are the subjects of Julie Murray's look at the violence inherent in the very notion of motion. Music: "Three Landscapes for Peter Wyer"

A composition of scenes and sounds in a montage reflecting poetic and musical forms. The camera, a toy, records only in black with a crude plastic lens which softens and distorts pictorial detail, creating ample room for the mind's eye to roam and query, or not, the nature of image, meaning and attachment.