After spending most of his adult life as a physician working primarily with the critically ill, often approaching death, Murphy abruptly changed directions pursuing an entirely new line of expression. He explored a variety of projects/studies and been influenced by the likes of Deborah Butterfield and Doug Owen.
“I have the fortune to have a wife, Corva, with an art history background who advises and critiques my adventures. Michel Beaudry guided me on my first project in his studio in Val-David, Québec and with the equipment I would need to outfit my own studio. Bonnie Baxter, my lifelong friend also from Val-David, inspired me to be original and intuitive. Brett Chenoweth, my neighbor, teacher, friend and artist, directed me to establish my lineage though drawing. Jim Hardy, friend, artist and advisor listens to me explore. Doug Owen challenged me to find my own road to help me stand out from other artists. Others have instructed me not knowingly like metal sculptor Gene Tully of Dubuque.”
Murphy has learned that, like the human body, a poorly engineered armature is like an unhealthy skeleton. You can cover the armature with pretty metals he likes to call “lipstick”; but without the strength of a well constructed framework it, like the body, soon fails. Murphy considers himself an abstract expressionist. As his art evolves, he finds excitement coming from exposing the structure which defines the strengths of the creation. Many of the creations come with some degree of eccentricity with a hidden surprise having no relationship to the piece. He chooses to use, for the most part, found materials and spend a lot of time digging things from the ground or searching through auto graveyards, body shops and salvage yards.