Hello, I am David Murphy, previously known as Cypher or The Panic Artist. I am a forty-six-year-old (b. 1971), Irish Expressionist/Realist painter and writer living and working in Dublin, Ireland. I have painted since before I can remember, but I have been painting seriously for thirty-seven years - and my surviving oeuvre contains thirty-one years’ worth of paintings and drawings. The greatest artistic influences on my work have been; Realism, Expressionism, Neo-Expressionism and Outsider Art.
In 2000 and 2002, I had two major shows in the Oisín Gallery in Dublin - but before and since I have had mostly rejections. Since May 2000, I have sold over €61,266 worth of art. The highest price paid for one of my paintings was €10,792 (The Dialectic of Emotions 1995 - sold in the Oisín Gallery in November 2000.) The average price for one of my works has been around €550 - 1,500. My art is in corporate and private collections in America, Ireland, England and Australia.
I have no formal qualifications and I am largely self-taught as an artist, but my art education - such as it is - consisted of a series of night classes taken intermittently over the course of twenty years, from the age of thirteen to thirty-three (mostly with private tutors or in the National College of Art and Design in Dublin), and one ill-disciplined year in Dun Laoghaire College of Art and Design 1989-90.
My artistic heroes are; Pablo Picasso, Julian Schnabel, Jean-Michel Basquiat, Vincent van Gogh, Lucian Freud, Richard Gerstl, Egon Schiele, Ernst Ludwig Kirchner, Willem de Kooning and Rembrandt Harmenszoon van Rijn.
I grew up alone with my mentally ill mother and withdrew into myself and concentrated on my art to the exclusion of everything else. As a result of my childhood trauma, I have suffered from a borderline personality disorder, depression, social anxiety and chronically low self-esteem most of my life. I am narcissistic, introverted, reclusive, voyeuristic and desperately shy. It was only in my mid-twenties that I began socialising and trying to get my work shown in art galleries. I managed to get a number of exhibitions, but collected many more rejections. After my mother’s death in 2009, and my subsequent grief and mental breakdown - I withdrew again from the world in order to preserve my sanity. I also gave up trying to achieve art world recognition. Having received over 98 rejections from art galleries and curators around the world - I stopped giving them the satisfaction of turning me down. But I continued to paint more than ever - if only as a form of privileged therapy. As I aged, I became increasingly misanthropic, anti-social and nihilistic.
At heart, I am an Expressionist artist; my art is the very opposite of 'arts for art’s sake', in fact I see no separation between my art and my life, both feed from each other to form a highly autobiographical art.
My approach to art is distinctly Expressionist in character - my work tells stories about the human condition – which most can recognise and read – even if they cannot identify with it. Technically, I believe that the honesty of my art depends upon an approach that is as direct and spontaneous as possible. When I draw - I hardly ever use an eraser. If I make a mistake in my drawings - I either over draw the corrections or rip up the sheet. In my paintings, I mostly paint in an 'alla-prima' manner rarely using glazes and limiting the number of layers I apply.
Because I am fearful of criticism, chronically shy and dislike most interactions with real people, about 70% of my work has been based upon photographs - of which about 50% were found in the media. I am so introverted that I have preferred to work indoors, under artificial light, at night, from; newspaper clippings, fashion-spreads, glamour and pornographic photos and sports action shots. I use these sources as a way of reacting to and commenting on the world without participating in it.
In my figure paintings (which form the core of my art), I break up the planes of faces and bodies into patches of broken colour, in a manner that owes something to my N.C.A.D. life-painting training and something to Lucian Freud.
My drawings have a strong, confident graphic outline - I know what I want, and what I want to leave out. My drawing and painting style is direct and summary, I do not attempt to hide my brush-marks, and their raw exposure gives my work its emotional depth. I pile up cryptic words, scratchy drawing, wild gestures and lunges of vivid colour. The words come from, philosophy, feminist, media and art books, Indie music and my own wild thoughts.
If you want consistency in an artist, you will never find it in my work. Most artists only ever do one thing. My art is not dependent upon a single style or manner. It has many strands. Taking my art as a totality - does not mean that it is all of equal value. There are major works but there are also many minor works of lesser value. However, the cumulative effect gets more powerful the more I produce and the more I complicate things. I work in conceptually based series, in which I adopt a particular style, medium and subject that I then pursue through dozens of paintings and drawings. The core of my art can roughly be derived into five major periods;
1. 1987-1990 - My 'Black Paintings' painted in brusque rough brushstrokes in high contrasts of darks and lights. The surfaces of my Black Paintings, were so thickly lacquered with paint, that they formed and impervious air-tight surface that mirrored my reclusive and anti-social existence. In addition, there were my classical drawings, which displayed; a strong linear style, with bold outlines and sharp contrasts of tone. These mute and repressed drawings also mirrored my own selectively mute and shut in nature at the time and there was barely any emotional spillage in these frozen, almost robotic drawings. During 1990 in particular, I struggled to break free of my rigid linear drawing and dark pallet trying to make my paintings more expressive and colourful. As a result, many of my works of 1990 failed - though I did create a few works that I could build upon in the following year. The subject matter of my work from 1987-1990, included nude self-portraits including one’s masturbating, tormented erotic scenes, female portraits, female nudes and my first drawings based on pornographic source material.
2. 1991-1995 - My 'Panic Art' made up of explosive Expressionist paintings made up of angular shapes, simplified drawing, bold juxtapositions of complementary colours (red and green, orange and blue) frenzied brushstrokes, and jammed with text and diagrams. In April 1991, I also began signing my work 'Cypher' as a sign of my alienation and would only revert to my real name in February 2009 after my mother's death. From June 1990 – September 1993, was also my most authentic ‘Outsider’ period when I created my art in insane solitude for my own personal reasons and without any audience or critics. 1991-1995 was also the period during which I created virtually all my large canvases - because I spent virtually my entire inheritance from my father’s death on art materials. My subjects included suicidal self-portraits nude, masturbating and self-mutilating, pornographic scenes, anguished female nudes, my first abstracts and an increasing use of text based work.
3. 1996-2001 – My Druggy Phase, when under the influence of hashish and ecstasy and Outsider Art, I painted insane looking works jammed with text, diagrams and abstract smears of pure colour straight from the tube, often on readymade supports such as pornographic magazine pages, photographs, war maps and other artist’s paintings. My subjects included pornographic cartoons and paintings, insane drug induced collage and symbolic abstracts and acetate based nude self-portraits and orgy scenes. I used hashish constantly when painting from 1996 until late 2009.
4. 2002-2006 – Expressive/realist paintings of pornographic orgies, boxers, self-portraits and highly stylised naturalistic nudes and nature studies or text based figurative work - also painted under the influence of Hashish. These works were often of a student quality, due to my intensive rebuilding of my technique. My subjects included figurative and text paintings damning the Irish art world, male and female academic studies, self-portrait busts, landscapes, soft-core female nudes, pornographic drawings and paintings. Over twice as much of my work, from 2005-2016, were non-pornographic even conventional subjects as my work from 1987-2004.
5. 2007-2017– My ‘Purple Period’, Expressive figurative, abstract and text work, which possessed a new maturity, painterly-application and refinement of style. It was notable for my frequent use of pinks, purples, mauves and violets. My purple period was full of threatening and doom laden images - made even more so by my purple pallet. I did not always use purple in my paintings of this period, but it was the dominant colour and reoccurred again and again at my lowest ebbs. My brush work also became subtler and softer and my drawing became more lyrical and precise. The 7th February 2009, also saw me return to signing my paintings ‘David Murphy’. Late in 2009, I quit drugs and drinking but continued to chain smoke. My subjects included guilt ridden female nudes, paintings of my mother’s funeral, landscapes and town scenes from my mother’s old polaroid’s, drippy portraits of famous writers and philosophers, drawings and watercolours of Greco-Roman sculptures, paintings of myself from my memory or imagination, insane collages, frenzied abstractions, erotic scenes, paintings of webcam women, expressive and unrepentant pornographic paintings and overlapping pornographic drawings and paintings.