Visit the Studio with Laura Murray

As we all dream of blue skies and going home, Laura Murray’s art may be the perfect answer. Oklahoma born artist Laura Murray strives to portray her underrated home state in portraiture that is so breathtakingly beautiful that it feels almost like a fantasy. Using materials as innovative as genuine Oklahoma dirt and dead wasps, Laura is inspired by the intersection of science and art, creating worlds that are both grounded and fanciful, while also equal parts illuminating and dark.

Join us as Laura takes us through her studio as painter, sculptor, and methodical collector of really awesome stuff!

What materials do you use? And why?

I use all sorts of stuff. I have the attention-span of a goldfish when it comes to sticking with a particular medium. I like to combine traditional materials (like oil and acrylic based paints, colored pencils, clay, etc.) with non-traditional materials (like egg shells, broken glass, hay stalks, hair, even insects!). I combine these unorthodox materials to create meticulously rendered, highly textured paintings and objects. The resulting artworks blur the line between painting, sculpture, and assemblage.

What is your artwork about? What does it speak to?

Lately I’ve been working on several distinct bodies of work that, upon surface level, appear to have nothing to do with each other. However, there are some thematic elements that connect them.

Fragility and vulnerability are key descriptors I would assign to my work. I think I’m trying to document wonder and awe invoked by small, overlooked things. I render my subjects delicately and with great care. Instead of making flat images, I try to make precious objects. This typically leads me towards making 3-dimensional artworks, although I also do traditional painting on canvas. However, stretched canvas still occupies space, and so I’ll typically paint the sides of my canvas to emphasize the “objectivity” of a painting.

My materials also play a very important part in assigning meaning to my work. The mediums used in each piece contribute to the artwork’s context. Specific materials like Oklahoma dirt, dead wasps, and shattered glass from a car window all lend to an unspoken narrative that can be teased out with detective-like inspection from the viewer.

Where do you get your inspiration?

I’m really interested in how the fields of science, urbanism, and art are interconnected. A lot of the imagery I employ is scientific (x-rays and entomology illustrations are just a couple of examples).

I’m also influenced by scenes from nature; I often hike in wooded areas throughout NY to acquire source materials and inspiration. The walls of my studio are lined with shelves of boxes containing seed pods, hay stalks, cicada shells, small bones, and various types of dirt. I use these materials as a medium to create texture in the paintings.

What is your typical routine when you get to the studio? Walk us through a typical studio day.

I’m really lucky to have a designated studio space in my home. There seems to be a general consensus in the art world that an artist’s studio work should be separate from their home life, but I love the practicality of being able to walk from my bedroom to my studio. It saves time and money.

I start each day by making coffee and watching about 30 minutes of news. Then I’ll take my dog Okie for a long walk, and then I’ll usually be in the studio by 9am. I usually have about 3-5 pieces I’m working on at once, some of them are commissions while others are personal work. Okie will usually start bugging me for attention at around 3pm, so I’ll take an hour break to play with her, then I’m back in the studio working until dinner time. Sometimes if I’m in a really good groove, I’ll be back in the studio after dinner. But it’s also nice to take some time away from a piece so I can see it with a fresh set of eyes the following day.

What are you currently working on?

I’m working on 3 distinct bodies of work right now. The first series consists of what I call “Oklahoma Studies”, which are tiny paintings/objects that are kind of like dioramas dedicated to my home state. They serve as a kind of visual diary of things I miss from Oklahoma, where I am from.

The second body of work is called my “Anthropocene” series. It consists of high-relief paintings and wall sculptures which highlight the different ways in which flora and fauna integrate themselves into man-made structures.

And the final body of work is simply paintings of x-rays. I find that the visual format of an x-ray translates beautifully through oil paint. Once painted, the x-rays have this translucent, layered depth that evokes thoughts of deep sea creatures.

Which artists most inspire you and your work?

This changes on an almost daily basis! That being said, Robert Gober has consistently been one of my favorites. I’m obsessed with his hand-crafted tableaus, and how he imbues humdrum domestic imagery with such deep emotional resonance. I’m also really into Curtis Talwst Santiago’s fantastic little dioramas. Walton Ford’s watercolors are awesome––and I’ve also been looking more and more at the oil paintings of Lucia Love. I love seeing the artwork of my peers and feeling that healthy competitive energy of “Damn, I want my painting to look that good!”

Do you balance another job in addition to being an artist?

For the first time in my life I can say NO! I’m working full time on my art. I worked for several years in various exhibition management roles, and each month I would put away part of my paycheck to help fund my passion of focusing solely on my studio practice. I’m currently taking on a lot of commissions to help keep me afloat, but at least for the moment, I’m truly happy to say I spend most of my days making art.

Do you have any current or upcoming exhibits? Please share!

I’m very excited to share that I have an upcoming solo show at HERE Arts Center in New York City. Their programming dates are in flux at the moment due to the Covid safety measures, but the exhibition will open sometime in the Spring of 2021. The exhibition will feature a lot of my multimedia nature-focused works, as well as some teeny delicate sculptures that are not available on Art in Res at the moment, but I hope they will be soon!

We hope you’ve enjoyed this special peek into Laura's creative environment! Even in a virtual age, we encourage all budding collectors to take the time to connect with the artists you love directly.

We want to remind you of our awesome artist messaging feature directly on the Art in Res site––reach out now and foster that creative energy! Have more questions for Laura on her art and practice? Follow up with her directly via our messenger. We know she’ll be thrilled to answer any questions you might have. Ask about a specific painting or about her specific process in general––either approach works!