Early Work

Clive Murray-White Gallery    Recent Small - More Recent Small - Recent Large 

"Murray-White uses the idea of sculpture as concept over the idea of sculpture as form at its most daring...Murray-White is close to being the best totally unknown inventor in the Australian art scene. He is a splendidly Duchampian figure who will keep us weirdly stimulated when much else around is moldering in the basement. If this is what sculpture can be, where will it all end, you ask, Who cares? The ride's exhilarating enough in itself." Patrick McCaughey, Sculpture in Good Shape The Age 8 May 1968.

 "The Situation Now exhibition was about highlighting the shift beyond Greenbergian formalism into a terrain of options marked at its introductory gateways by minimalism and at its distinct edges by conceptualism in the broad stylistic sense. Clive Murray-White's Smoke Work 1971 is the perfect example of this movement from minimal into the conceptual/ephemeral space. At the same time, made during the height of protests against Australia's involvement in the Vietnam war it also stands in as that radical subversive and illusive political action, reflecting the riots and the teargas tactics police used to sudue the crowds" Juliana Enberg Reality Check catalogue essay for The Real Thing The Museum of Modern Art at Heide 1997

 "Its not often that a well know sculptor decides to take off to the bush for a few years to unlearn all those lessons he feels he knows too well. Clive Murray-White's current show at the Macquarie is the result of this exile..............what saves this work from veering too far into the comic realm is the sculptor's sophisticated grasp of structure and balance......The longer one spends with this work the more acutely we begin to appreciate its multiple levels of wit and sculptural finesse.".....John McDonald Sydney Morning Herald.1985

..."Murray-White is about man's destiny, rough hew him as we may. He is about those old fashioned sculptural virtues like inner pressure, internal volumes and scarred indecisive surfaces, like some of Rodin's work and Michelangelo's rough, unfinished the Rondanini Pieta......Sometimes a mouth, eye socket, a nose ridge or so on may be detected, as though Murray-White wanted to veil shapes, as did Medardo Rosso that melted features into moods...His present is full of iconic objects, sermons in stone." Elwyn Lynn Sydney Morning Herald 1988.