Martin Murphy

Artist Martin Murphy reflects on a career spanning dance, acting, and sixteen years at Lucasfilm. He explores how physical performance, digital experience, and a love of classical painting converge in his figurative oil works and myth inspired portraits.

How does your background as a dancer and actor influence the staging and composition of your paintings?

My background in theatre has had a profound influence on my oil painting. Years ago as a professional dancer my whole focus was training my body to stretch and hit lines and make it look easy. I was also lucky enough to be in a few big budget productions where incredible detail went into the human hair wigs, costumes with antique fabrics, and massive sets that were engineering marvels and works of art. As a visual person I soaked in all those influences like a sponge and many years later I’m sure those influences show up in my paintings.

Following your years at Lucasfilm, what does oil painting allow you to express that the digital medium could not?

The thing that is different from the digital medium is that my final finished work is a physical object created by hand on a surface you can touch. I do use a computer to design my compositions and edit my reference photos but after many weeks of paint and brush strokes the painting is a one of a kind thing I can hold in my hands. I’m very grateful for my experience working at Lucasfilm’s Industrial Light and Magic for over 16 years. I think learned not to fear complexity and the importance of good lighting and what that lighting does to different surfaces but I’ve always loved the impact of a physical piece of art knowing a single artist used their hands to create a thing right in front of you.

Your most recent paintings explore mythological characters. Could you tell us more about this series and its significance?

I love portraits and used to paint a lot of them years ago but they can be tough. It’s a delicate balance between the artist and the client which can be tricky for me since I love being faithful to imperfections but the client may want a more flattering piece. When painting the mythological figures I can still paint a portrait but there’s no pressure to flatter the subject and each one comes with the added bonus of a rich background story. I love the old masters and my work can look very traditional (sometimes that can be difficult in the art market) so I like to keep these mythological portraits a bit more contemporary with neutral studio type settings.

Why do you prioritize the nude and the human figure in your current artistic exploration?

I think I’ve always used the figure in my art, even as a young artist. I was always fascinated by the challenge of anatomy. When I was working at ILM in California I had the opportunity to visit Stanford University and get up close to their cadavers to study muscles and tendons for an afternoon, fascinating! A few years ago I did a series of 10 koi paintings and a few still life pieces but I always seem to come back to the figure. 

Could you walk us through your creative process, from choosing a subject to the final brushstroke?

In theatre you’re always looking for your next gig even when in you’re already in a show. The same goes for my artwork. As I’m painting away on the current subject I’m already lining up the next piece and booking models. I sketch on the computer, usually in bed before going to sleep. I look for props in thrift stores or start making props I may need, then look for the right model. I book a photo session then edit the photos on the computer. Once all the decisions are made regarding the look and dimensions I either buy a canvas, build one, or have one made (it’s all about the same price). These days my painting process takes twice as long as it used to. I don’t really talk about this but I’ve been my parent’s caregiver for over three years now so with my schedule it takes me twice as long to finish a painting. What used to take me four weeks can now take eight. My hilarious almost 90 year old father keeps offering to pose nude for me but I respectfully decline. Once the painting is done I let it sit for as long as possible then give it a thin coat of gloss varnish.

At what point do you consider a painting finished, especially given your extreme attention to detail?

When I can’t fix anything anymore it’s done. I usually spend the last few days fixing things I might cringe at later. I’ve also been known to go back to a painting and add things or fix some skin issues sometimes well after the piece is done and varnished. I'll remove the varnish, fix the issue, then varnish again and then the piece is done.

Do you have any upcoming projects or exhibitions you would like to share with us?

Yes! I’ll be doing a solo show April 7-13, 2026 at the McKay Art Centre in Unionville, Ontario. I had a solo show at this location in 2023 and it was a wonderful experience. I’ll be showing everything I have available plus what I can complete before then. The venue was once the home of Group of Seven member Fred Varley so I can almost feel the art inspiration flowing everywhere. So check out my instagram or my website for the show updates in the coming weeks.

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To learn and see more of Martin Murphy's work: website + Instagram.