1992, Todd Murphy studio portrait by
Daemon Baizan/DAEMONpictures//
Artwork Todd Murphy
© 2020 Estate of Todd Murphy / Artists Rights Society (ARS), New York — 1992, Todd Murphy studio portrait by Daemon Baizan/DAEMONpictures// Artwork Todd Murphy © 2020 Estate of Todd Murphy / Artists Rights Society (ARS), New York

1992, Todd Murphy studio portrait by
Daemon Baizan/www.DAEMONpictures.com Artwork Todd Murphy
© 2020 Estate of Todd Murphy / Artists Rights Society (ARS), New York — 1992, Todd Murphy studio portrait by Daemon Baizan/www.DAEMONpictures.com Artwork Todd Murphy © 2020 Estate of Todd Murphy / Artists Rights Society (ARS), New York

Todd Murphy American Experimental Artist

Todd Murphy b. 1962, Chicago, IL. d. 2020 New York, NY
Murphy lived and worked in Brooklyn, NY, Charlottesville, VA and Atlanta, Ga.
Murphy’s fixation on racism and the misuse of science, manifested since early in his career, proved not simply precocious, but prescient:

PETER FRANK
TODD MURPHY: BREADTH OF A POET
Los Angeles 2022
Todd Murphy b. 1962 Chicago. IL. , d. 2020 New York, NY

Murphy lived and worked in Brooklyn, NY, Charlottesville, VA and Atlanta, Ga.

© 2020 Estate of Todd Murphy / Artists Rights Society (ARS), New York

The Contents of this site, including all images and text, are for educational and non-commercial use only and are the sole property of the estate of Todd Murphy. Reproduction righ — © 2020 Estate of Todd Murphy / Artists Rights Society (ARS), New York The Contents of this site, including all images and text, are for educational and non-commercial use only and are the sole property of the estate of Todd Murphy. Reproduction rights for all possible uses by third parties must be cleared in writing through the Estates Copyright Representative, ARS (ARTIST RIGHTS SOCIETY)

It's the idea of the infinite with in the finite - the comfort in recognizing that physics/science/art all are about asking questions.

TODD MURPHY (1962-2020)
Wide Awake at the Mattress Factory, interview by Regan Hofmann
Poets, Artists & Madmen, July 1995
Do you know anything about fractals? You take something (apparently) finite, like a shoreline. You measure it with a yardstick - end over end. It measures 700 yards. Then you remeasure it with a flexible tape, that can pick up the undulations. It measures 850 yards. You keep measuring it (with more precise instruments) and it just keeps getting longer. It's this idea of the infinite within the finite - the comfort in recognizing that physics/science/art all are about asking questions - (not necessarily finding the answers).

TODD MURPHY (1962-2020)
Wide Awake at the Mattress Factory, by Regan Hofmann
Poets, Artists & Madmen, July 1995
Do you know anything about fractals? You take something finite, like a shoreline. You measure it with a yardstick - end over end. It measures 700 yards. Then you remeasure it with a flexible tape, that can pick up the undulations. It measures 850 yards. You keep measuring it and it just keeps getting longer. It's this idea of the infinite within the finite -
- the comfort in recognizing that physics/science/art all are about asking questions - (not necessarily finding the answers).

TM
Do you know anything about fractals?
You take something (apparently) finite, like a shoreline. You measure it with a yardstick - end over end. It measures 700 yards. Then you remeasure it with a flexible tape, that can pick up the undulations. It measures 850 yards. You keep measuring it (with more precise instruments) and it just keeps getting longer.
It's this idea of the infinite within the finite
- the comfort in recognizing that physics/science/art all are about asking questions.

TODD MURPHY, 1995
(1962-2020)
Wide Awake at the Mattress Factory, TODD MURPHY

Poets, Artists & Madmen, July 1995
by Regan Hofmann

© 2020 Estate of Todd Murphy / Artists Rights Society (ARS), New York

Ultimately, what distinguishes Murphy from most of his American contemporaries is his commitment to the human- not the American—condition.

Bradford R. Collins
Todd Murphy's Heroic Subjectivism, McKissick Museum Catalog, Columbia, SC, 1991
Murphy’s fixation on racism and the misuse of science, manifested since early in his career, proved not simply precocious, but prescient:

PETER FRANK
TODD MURPHY: BREADTH OF A POET
Los Angeles 2022
I visited Murphy at his studio at the Brooklyn Navy Yard and have never been so moved by an artist working Space.

Adam Lehrer, 2016
Artist Todd Murphy Creates Discourse through Beauty
Forbes Magazine. October 21, 2016.
I have been back to Murphy's studio many times over the ensuing years, first in Atlanta and more recently near Charlottesville,Virginia. Each time, I have left with a sense of haunted remembrance and enigmatic drama.

Carrie Przybilla
The High Museum of Art, 2000
organizing curator TODD MURPHY Art at the Edge
Murphy’s fixation on racism and the misuse of science, manifested since early in his career, proved not simply precocious, but prescient: he mirrored the concerns of African American counterparts, one of the few non-Black artists of the time to address the issue, but envisioned those concerns in terms of poetic elision more than documentary narrative.

PETER FRANK
TODD MURPHY: BREADTH OF A POET
Los Angeles 2022

Todd Murphy, Portrait by Adam Lehrer, Forbes Interview, 2016

Todd's studio in the Brooklyn Navy Yard, March 2016 © 2020 Estate of Todd Murphy / Artists Rights Society (ARS), New York

Brooklyn studio, 2016 © 2020 Estate of Todd Murphy / Artists Rights Society (ARS), New York

Brooklyn studio, January 2017 © 2020 Estate of Todd Murphy / Artists Rights Society (ARS), New York

Brooklyn studio 2015 © 2020 Estate of Todd Murphy / Artists Rights Society (ARS), New York

I visited Murphy at his studio at the Brooklyn Navy Yard and have never been so moved by an artist working Space.

Adam Lehrer, 2016
Artist Todd Murphy Creates Discourse through Beauty
Forbes Magazine. October 21, 2016.
I have been back to Murphy's studio many times over the ensuing years, first in Atlanta and more recently near Charlottesville, Virginia. Each time, I have left with a sense of haunted remembrance and enigmatic drama.

Carrie Przybilla
The High Museum of Art, 2000
organizing curator TODD MURPHY Art at the Edge

Mia's Lover, 1991, © 2020 Estate of Todd Murphy / Artists Rights Society (ARS), New York

King of Birds, 1992, © 2020 Estate of Todd Murphy / Artists Rights Society (ARS), New York

Photograph of Todd's Studio by Dot Griffith for Atlanta at Home by Frances Schultz ©1994
Art © 2020 Estate of Todd Murphy / Artists Rights Society (ARS), New York — Photograph of Todd's Studio by Dot Griffith for Atlanta at Home by Frances Schultz ©1994 Art © 2020 Estate of Todd Murphy / Artists Rights Society (ARS), New York

Untitled, mixed media, 1991, © 2020 Estate of Todd Murphy / Artists Rights Society (ARS), New York

Art is not about the right color on the right surface; it's about synthesizing one's experience.

Todd Murphy, 1989
Yet the informal calligraphy seems to further support and identify with the single figure in a context that feels as primordial as the drawings on the walls of the ancient caves and, at the same time, as sophisticated and timely as a billboard

Joseph Perrin
The Art World/ The Work of Todd Murphy, 1989
Joseph Samuel Perrin (1923 - 2014) Professor Emeritus, and the founder and former Chairman of the School of Art and Design at Georgia State University,

Oh, that sculptors could paint paintings as well as he makes sculptures. In every one of these 13 pieces, the tactile sensations come with an evocation of what one should call "The Poetics of Decay," the beauty of objects and substances, "the antique," whose active lives have ended, but which still live on in the imagination of the artist.

Donald Locke
A World Apart Todd Murphy’s New World
Fay Gold Gallery, 1995
Donald Locke (1930 – 2010) painter, sculptor, ceramicist and writer, lived, studied and worked in Guyana, Britain and the USA. Donalde Locke
They are then chopped up, re-assembled with heads, bodies and torsos freely interchanged, and then partially covered with common salt mixed with an adhesive. They emerge as radically re-figured beings. Sounds like a project in Three Dimensional Design 102, doesn't it? But this is no rookie artist. He invests each newly fashioned sculpture with an eerie tactility

Donald Locke
A World Apart Todd Murphy’s New World
Fay Gold Gallery, 1995
Donald Locke (1930 – 2010) painter, sculptor, ceramicist and writer, lived, studied and worked in Guyana, Britain and the USA. Donalde Locke
Simply described, they are made from found objects, from fabrics, dolls and wooden sculptures from Africa, Indonesia and here in the U.S. All this material is taken in to that vast, echoing, heroic mausoleum Todd Murphy calls his studio.

Donald Locke
A World Apart Todd Murphy’s New World
Fay Gold Gallery, 1995
Donald Locke (1930 – 2010) painter, sculptor, ceramicist and writer, lived, studied and worked in Guyana, Britain and the USA. Donald Locke

Places Beyond Here, The New World, 1995
© 2020 Estate of Todd Murphy / Artists Rights Society (ARS), New York — Places Beyond Here, The New World, 1995 © 2020 Estate of Todd Murphy / Artists Rights Society (ARS), New York

Untitled, The New World, 1995
© 2020 Estate of Todd Murphy / Artists Rights Society (ARS), New York — Untitled, The New World, 1995 © 2020 Estate of Todd Murphy / Artists Rights Society (ARS), New York

Circus Boy, The new World, 1995
© 2020 Estate of Todd Murphy / Artists Rights Society (ARS), New York — Circus Boy, The new World, 1995 © 2020 Estate of Todd Murphy / Artists Rights Society (ARS), New York

St. Salt Lick, The New World, 1995
© 2020 Estate of Todd Murphy / Artists Rights Society (ARS), New York — St. Salt Lick, The New World, 1995 © 2020 Estate of Todd Murphy / Artists Rights Society (ARS), New York

Boy Looks East, The New World, 1995
© 2020 Estate of Todd Murphy / Artists Rights Society (ARS), New York — Boy Looks East, The New World, 1995 © 2020 Estate of Todd Murphy / Artists Rights Society (ARS), New York

Circus Boy and two Untitled mixed media works, The New World, 1995
© 2020 Estate of Todd Murphy / Artists Rights Society (ARS), New York — Circus Boy and two Untitled mixed media works, The New World, 1995 © 2020 Estate of Todd Murphy / Artists Rights Society (ARS), New York

Installation shot, The New World, 1995
© 2020 Estate of Todd Murphy / Artists Rights Society (ARS), New York — Installation shot, The New World, 1995 © 2020 Estate of Todd Murphy / Artists Rights Society (ARS), New York

Untitled (Circus Boy), The New World, 1995
© 2020 Estate of Todd Murphy / Artists Rights Society (ARS), New York — Untitled (Circus Boy), The New World, 1995 © 2020 Estate of Todd Murphy / Artists Rights Society (ARS), New York

Boy with White Rabbit Ears, The New World, 1995
© 2020 Estate of Todd Murphy / Artists Rights Society (ARS), New York — Boy with White Rabbit Ears, The New World, 1995 © 2020 Estate of Todd Murphy / Artists Rights Society (ARS), New York

Mapping, The New World, 1995
© 2020 Estate of Todd Murphy / Artists Rights Society (ARS), New York — Mapping, The New World, 1995 © 2020 Estate of Todd Murphy / Artists Rights Society (ARS), New York

Compass Boy, The New World, 1995
© 2020 Estate of Todd Murphy / Artists Rights Society (ARS), New York — Compass Boy, The New World, 1995 © 2020 Estate of Todd Murphy / Artists Rights Society (ARS), New York

I have been back to Murphy's studio many times over the ensuing years, first in Atlanta and more recently near Charlottesville, Virginia. Each time, I have left with a sense of haunted remembrance and enigmatic drama.

Carrie Przybilla
The High Museum of Art, 2000
organizing curator TODD MURPHY Art at the Edge
I visited Murphy at his studio at the Brooklyn Navy Yard and have never been so moved by an artist working Space.

Adam Lehrer
Artist Todd Murphy Creates Discourse through Beauty
Forbes Magazine, Adam Lehrer, October 21, 2016.

Monument to Sally Hemings

Charlottesville, Virginia, 2000 more on this work HERE

It has endurance and frailty built into its structure—its story is not one of event but of duration and of the duration of difference in the narration of human genetic material, material structures, built space, and urban design and development.

Samantha Pinto
INFAMOUS BODIES
Early Black Women’s Celebrity and the Afterlives of Rights. “The Romance Of Consent Sally Hemings, Black Women’s Sexuality, And The Fundamental Vulnerability Of Rights”
Duke University Press, 2020
Murphy’s piece is then both historical and counter historical.

Samantha Pinto
INFAMOUS BODIES
Early Black Women’s Celebrity and the Afterlives of Rights. “The Romance Of Consent Sally Hemings, Black Women’s Sexuality, And The Fundamental Vulnerability Of Rights”
Duke University Press, 2020

Sally Hemings, 2000
© 2020 Estate of Todd Murphy / Artists Rights Society (ARS), New York — Sally Hemings, 2000 © 2020 Estate of Todd Murphy / Artists Rights Society (ARS), New York

Hall of primates, 2003
© 2020 Estate of Todd Murphy / Artists Rights Society (ARS), New York — Hall of primates, 2003 © 2020 Estate of Todd Murphy / Artists Rights Society (ARS), New York

Mastodon 2000-2003
© 2020 Estate of Todd Murphy / Artists Rights Society (ARS), New York — Mastodon 2000-2003 © 2020 Estate of Todd Murphy / Artists Rights Society (ARS), New York

Murphy’s fixation on racism and the misuse of science, manifested since early in his career, proved not simply precocious, but prescient: he mirrored the concerns of African American counterparts, one of the few non-Black artists of the time to address the issue, but envisioned those concerns in terms of poetic elision more than documentary narrative.

PETER FRANK
TODD MURPHY: BREADTH OF A POET
Los Angeles 2022
Certain themes connected certain series; for instance, Murphy tacitly condemned the historical institution of slavery in America in the billowing white dresses that float through his “Murmurations” (as well as earlier work) – the dresses, already loaded with cultural and metaphorical suggestion, conjure the fate of chatteled African women, and the series both sources and culminates in a monument to Sally Hemings, who “belonged” to Thomas Jefferson (in more ways than one, bearing him several children).

PETER FRANK
TODD MURPHY: BREADTH OF A POET
Los Angeles 2022
In a subsequent series, “Kingdom Phylum Class Order Family Genus Radio,” Murphy looked at the more general racism that inheres to anthropology even as he examined the scientistic tendency to denote, classify, and display.

PETER FRANK
TODD MURPHY: BREADTH OF A POET
Los Angeles 2022
What was supposed to be a stable and logical way of communicating and improving knowledge, Murphy indicates, amplified and perpetuated stereotypes: biology was – and very much remains -- as much a weapon of suppression as a tool of enlightenment.

PETER FRANK
TODD MURPHY: BREADTH OF A POET
Los Angeles 2022

I read a great quote by Goethe. I’m going to misquote him but it goes something like this, “anyone who can’t synthesize three thousand years of civilization is living hand to mouth.”

TODD MURPHY
Murphy’s Proof interview by Cathleen Sloan
C-ville Weekly, 1997
I am not afraid to reference antiquity or old masters.

TODD MURPHY
Murphy’s Proof interview by Cathleen Sloan
C-ville Weekly, 1997
When I say there is nothing new I mean we have been struggling with the nature of God for as long as we've been able to conceive that idea.

TODD MURPHY
Murphy’s Proof interview by Cathleen Sloan
C-ville Weekly, 1997
We've been trying to come to terms with the division of the soul and this apparatus, the body.

TODD MURPHY
Murphy’s Proof interview by Cathleen Sloan
C-ville Weekly, 1997

I try to make my art approachable. The average person not interested in art can appreciate my work for its beauty. Someone deeper into art can see the different layers.

TODD MURPHY
FORBES INTERVIEW 2016

What’s outdated is how art has rendered itself irrelevant to most people. It’s like being a musician making music so cacophonous that very few people want to listen to it. Do you know how risky it is to make something beautiful at this point? Even to make something aesthetic, that’s not performative or conceptual? It’s very challenging.

TODD MURPHY
FORBES INTERVIEW 2016
A structural element that is virtually always included in Murphy's paintings is "writing," which he uses to symbolize his thoughts about the human condition and art. The words may simply be notes to himself or they may be from any source that is available if the message seems cogent. They may even be written in Russian. Among the words that may appear on some of his canvases is "ARNT”. This play on the contraction "aren't," he explains, "is for me a negation of what art has become."

Joseph Perrin
The Art World/ The Work of Todd Murphy, 1989
Joseph Samuel Perrin (1923 - 2014) ARTIST, Professor Emeritus, and the founder and former Chairman of the School of Art and Design at Georgia State University.
We see subjectivity, something like ethics, responsibility, the social contract, personal obsession, and earnest attempts to communicate again with less insider-y audiences. Rather than plotting where this art fits on the teleological-formalist timeline, consider Romanesque and medieval church façades: These masterpieces tell essential stories in visually sophisticated, visionary ways, all with an extraordinary use of material, scale, ambition, everything, yet anyone may experience, read, grasp, and be part of this art. They are open books. These are the connotations and possibilities of art now. Art has landed on another moon.

Jerry Saltz Vulture October, 2019

Untitled (Sculpture Wall) 2019
© 2020 Estate of Todd Murphy / Artists Rights Society (ARS), New York — Untitled (Sculpture Wall) 2019 © 2020 Estate of Todd Murphy / Artists Rights Society (ARS), New York

Untitled, 2018
© 2020 Estate of Todd Murphy / Artists Rights Society (ARS), New York — Untitled, 2018 © 2020 Estate of Todd Murphy / Artists Rights Society (ARS), New York

Drawing
© 2020 Estate of Todd Murphy / Artists Rights Society (ARS), New York — Drawing © 2020 Estate of Todd Murphy / Artists Rights Society (ARS), New York

Homage to Sally Hemings, 2000
© 2020 Estate of Todd Murphy / Artists Rights Society (ARS), New York — Homage to Sally Hemings, 2000 © 2020 Estate of Todd Murphy / Artists Rights Society (ARS), New York

Untitled, Paper Windows, 2016
© 2020 Estate of Todd Murphy / Artists Rights Society (ARS), New York — Untitled, Paper Windows, 2016 © 2020 Estate of Todd Murphy / Artists Rights Society (ARS), New York

Untitled (nest), 1998
© 2020 Estate of Todd Murphy / Artists Rights Society (ARS), New York — Untitled (nest), 1998 © 2020 Estate of Todd Murphy / Artists Rights Society (ARS), New York

Bird Room, 2016
© 2020 Estate of Todd Murphy / Artists Rights Society (ARS), New York — Bird Room, 2016 © 2020 Estate of Todd Murphy / Artists Rights Society (ARS), New York

Todd Murphy’s Gesamtkunstwerk required not things to say so much as ways to say them, and the arc of his art takes us from declaration to account to poem.

PETER FRANK
TODD MURPHY: BREADTH OF A POET
Los Angeles, 2022

Throughout his career Murphy was cited time and again as a “storyteller” and a “narrative artist.” But he never told his stories in a straightforward pictorial (much less illustrative) manner; and by time he left the South he had evolved into a kind of image-poet, inferring ideas at least as much as spinning or elaborating on tales.

PETER FRANK
TODD MURPHY: BREADTH OF A POET
Los Angeles, 2022
More and more, the tone and texture of his imagery became characters themselves, even as Murphy’s purview maintained its epic proportions

Peter Frank, 2022
It wasn’t so much that he was assuming the mantle of a bard; in fact, he was always nearing that galvanizing position but always steering clear of its full implications.

PETER FRANK
TODD MURPHY: BREADTH OF A POET
Los Angeles, 2022
Rather, Murphy was looking for a lyric voice, the lyric voice that kept breaking through the surface until he found the chiaroscuro, visual and spiritual, that could fully liberate it.

PETER FRANK
TODD MURPHY: BREADTH OF A POET
Los Angeles, 2022
Todd Murphy’s Gesamtkunstwerk required not things to say so much as ways to say them, and the arc of his art takes us from declaration to account to poem.

PETER FRANK
TODD MURPHY: BREADTH OF A POET
Los Angeles, 2022
Had he been able to give us another 20-30 years of work, Murphy would have found his way to music, too. As it is, his every artwork is a breaking into song -- into the soul of a song, and into a song of the soul

PETER FRANK
TODD MURPHY: BREADTH OF A POET
Los Angeles, 2022

“Where my art and space end is sort of vague.”

Murphy, 1997
Pontus Hulten 1983 essay lays the groundwork for the case for Brancusi as the first furniture artist and the first Brancusi of the sculptures proper; he emphasizes the artist’s “passionate concern for the rapport of his sculptures with the space around them” and demonstrates how around 1915 “the distinction between the sculptures, the works commonly referred to as their bases, and the other objects in Brancusi’s studio became ever more blurred.”

(Pontus Hulten)

Todd Murphy American Experimental Artist

Murphy’s fixation on racism and the misuse of science, manifested since early in his career, proved not simply precocious, but prescient:

Todd Murphy b. 1962 Chicago. IL. , d. 2020 New York, NY

It's the idea of the infinite with in the finite - the comfort in recognizing that physics/science/art all are about asking questions.

- the comfort in recognizing that physics/science/art all are about asking questions - (not necessarily finding the answers).

Do you know anything about fractals?

It's this idea of the infinite within the finite

- the comfort in recognizing that physics/science/art all are about asking questions.

Wide Awake at the Mattress Factory, TODD MURPHY

Ultimately, what distinguishes Murphy from most of his American contemporaries is his commitment to the human- not the American—condition.

Murphy’s fixation on racism and the misuse of science, manifested since early in his career, proved not simply precocious, but prescient:

I visited Murphy at his studio at the Brooklyn Navy Yard and have never been so moved by an artist working Space.

I have been back to Murphy's studio many times over the ensuing years, first in Atlanta and more recently near Charlottesville,Virginia. Each time, I have left with a sense of haunted remembrance and enigmatic drama.

I visited Murphy at his studio at the Brooklyn Navy Yard and have never been so moved by an artist working Space.

I have been back to Murphy's studio many times over the ensuing years, first in Atlanta and more recently near Charlottesville, Virginia. Each time, I have left with a sense of haunted remembrance and enigmatic drama.

Art is not about the right color on the right surface; it's about synthesizing one's experience.

Yet the informal calligraphy seems to further support and identify with the single figure in a context that feels as primordial as the drawings on the walls of the ancient caves and, at the same time, as sophisticated and timely as a billboard

Simply described, they are made from found objects, from fabrics, dolls and wooden sculptures from Africa, Indonesia and here in the U.S. All this material is taken in to that vast, echoing, heroic mausoleum Todd Murphy calls his studio.

I have been back to Murphy's studio many times over the ensuing years, first in Atlanta and more recently near Charlottesville, Virginia. Each time, I have left with a sense of haunted remembrance and enigmatic drama.

I visited Murphy at his studio at the Brooklyn Navy Yard and have never been so moved by an artist working Space.

Monument to Sally Hemings

It has endurance and frailty built into its structure—its story is not one of event but of duration and of the duration of difference in the narration of human genetic material, material structures, built space, and urban design and development.

Murphy’s piece is then both historical and counter historical.

In a subsequent series, “Kingdom Phylum Class Order Family Genus Radio,” Murphy looked at the more general racism that inheres to anthropology even as he examined the scientistic tendency to denote, classify, and display.

What was supposed to be a stable and logical way of communicating and improving knowledge, Murphy indicates, amplified and perpetuated stereotypes: biology was – and very much remains -- as much a weapon of suppression as a tool of enlightenment.

I read a great quote by Goethe. I’m going to misquote him but it goes something like this, “anyone who can’t synthesize three thousand years of civilization is living hand to mouth.”

I am not afraid to reference antiquity or old masters.

When I say there is nothing new I mean we have been struggling with the nature of God for as long as we've been able to conceive that idea.

We've been trying to come to terms with the division of the soul and this apparatus, the body.

I try to make my art approachable. The average person not interested in art can appreciate my work for its beauty. Someone deeper into art can see the different layers.

Todd Murphy’s Gesamtkunstwerk required not things to say so much as ways to say them, and the arc of his art takes us from declaration to account to poem.

More and more, the tone and texture of his imagery became characters themselves, even as Murphy’s purview maintained its epic proportions

It wasn’t so much that he was assuming the mantle of a bard; in fact, he was always nearing that galvanizing position but always steering clear of its full implications.

Rather, Murphy was looking for a lyric voice, the lyric voice that kept breaking through the surface until he found the chiaroscuro, visual and spiritual, that could fully liberate it.

Todd Murphy’s Gesamtkunstwerk required not things to say so much as ways to say them, and the arc of his art takes us from declaration to account to poem.

Had he been able to give us another 20-30 years of work, Murphy would have found his way to music, too. As it is, his every artwork is a breaking into song -- into the soul of a song, and into a song of the soul

“Where my art and space end is sort of vague.”

TODD MURPHY (1962-2020)