She portrayed a gloomy home life by bathing cartoonish technique, comprising kitchen utensils, desks, shoes, and others seen in houses. Personally, her paintings pushed me to think more profoundly about their goofy, ridiculous, and comical nature, but I only felt somewhat disturbed.
In her earlier works, Murray depicted human features, by interweaving non-figurative colors, lines, and shapes. She used multi-paneled installations, alongside vibrant and daring colors to fascinate and trick the viewers’ eyes. She made use of every dimension, and is particularly recognized for her designed canvasses (Lacayo para 2-3). Her naughty, silly, and wild technique is all about colorful composition and wild forms against the organized and methodical abstract art. She totally recreated Modernist abstraction into cartoonish humor and essence.
The above picture is one perfect example of Murray’s wacky, spirited, yet deliberate, calculated technique. In this painting, she is combining abstract three-dimensional canvases to form scenery of unique shades, colors, and systematic mixtures. It is a large image of a hotchpotch, painting, and figure; mixed all in all and colored vibrantly and raises a sense of wackiness, but sympathetic accuracy which is integrated in all its exquisite disorder (PBS(a) para 4). The application of smooth, horizontal color reveals that she is not attempting to mislead the viewers or make them believe there is something deeper than what has been painted or shown in front of them. Based on my analysis, I think she is trying to guide her viewers to the reality that abstract images can be objects too. Even though these are not ordinary, mundane objects that can simply be recognized, I think she is attempting to copy commonplace objects employing her own artistry, ingenuity, and imagination.
She makes use of living organic shapes all over the painting which look like human body parts. By condensing and squashing these humanlike shapes into her