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Photo Museum Ireland is delighted to present the Irish premiere of Sharon Murphy’s new body of work Mise en Abyme, which focuses on Parisian carousels and theatrical décor during moments of stillness and silence. Drawing on her background in theatre and informed by concepts from psychoanalysis and magic realism in literature, this new work highlights Murphy’s longstanding interest in staged spaces and the performative in photography. 

In Western art history, ‘mise en abyme’ is the technique of placing a copy of an image within itself. Murphy uses this concept as a metaphor to investigate the boundaries between real and fictive spaces, concentrating on recurring motifs of theatre curtains, outdoor carousels, circus tents, performative sites, city parks and empty stages. 

These scenes become the point of departure for a wider exploration of the tension between hidden and revealed, negative and positive, illusion and disillusion. This work addresses the essential nature of photographic seeing, performance, and Freud’s notion of the uncanny where the familiar becomes suddenly strange and disconcerting through a play between presence and absence, evoking both enchantment and a pang of unease. 

This series marks a significant evolution in Murphy’s practice both conceptually and in terms of using the materiality of the photographic images, with an emphasis on the sculptural presence of the work, blurring the boundaries between real and represented space. The worlds implied or symbolised are both actual and potential, characterised by a capacity to juxtapose several spaces and instances of time and experience within one tangible space and where tropes of the mise en abyme – doubleness, reflexivity, repetition, mirroring – play out.

 “At the core of Murphy’s practice is her ongoing engagement with photography’s inherent and simultaneous tensions between the real/indexical and the unreal/constructed. A photograph might be a record but it also involves expression, interpretation and perceptions.”  

– Stephanie McBride, Irish Arts Review

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