Clive Murray-White (1946)was born in England and emigrated to Australia in 1959. In his late teens, he studied art at the Brisbane Technical College, followed by the Guildford School of Art in England, and then at RMIT University in Melbourne.
Early in his practice, Murray-White created work with welded and cast metal objects based on found objects. In the 1970s, he explored ‘post object art’ with smoke sculptures. His work Drawing for – Adelaide Festival smoke display is one such example that shows how he thought about smoke as a medium within sculpture. He extended his reputation through his performance art (most notably his 1970s Smoke Sculpture performed at the University of Queensland and The Domain in Sydney) and his conceptual sculptures (minimalist abstractions composed of found objects and powder-coated steel).
In the 1980s, Murray-White transitioned to marble sculpting, finding importance in the material as something that comes directly from the ground we live on and a record of space and time. He sources his marble primarily from Chillagoe in northern Queensland (200km inland from Cairns) and from Gocup in New South Wales (between Canberra and Wagga Wagga).
In the 1990s, his work became figurative in nature; out of his craggy, Australian-sourced stones a human face emerges. Placing these marble 'heads' on pedestals became symbolic of intelligence beyond the body; the artist has described these as ‘implying that the body has eroded’. The work is a contemplation of existence.
Murray-White has been exhibiting since 1965. He has been invited to exhibit in many national exhibitions including Sydney Biennales and Australian Sculpture Triennials. Additionally, his work is held in several notable state collections, including the Australian National Gallery, The National Gallery of Victoria, The Australian Parliament House and many regional collections across Australia. He was also an active artist in the Gippsland arts community through Cowwarr Arts Space, which he ran with Carolyn Crossley from 1992-2020.
Murray-White has also completed major commissions since beginning his work in marble, chiefly The Alfred Felton Centenary Sculpture at the National Gallery of Victoria.
© 2025. All content on this blog is protected by international copyright laws All images are copyrighted © by Clive Murray-White or assignee. Apart from fair dealing for the purpose of private study, research, criticism or review as permitted under the Copyright Act, the use of any image from this site is prohibited unless prior written permission is obtained. All images used for illustrative purposes only
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| Clive Murray-White |
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| Murray-White at work |
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| A Young Woman and Her Protector, 1993-2000 |
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| Gammer, c. 1994 |
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| Art Over Modern Art - More over Less, c. 2002 |
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| Gocup Head II, c. 2002 |
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| Gocup Relief II, c. 2002 |
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| Seeing & Knowing, c. 2002 |
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| Art over Modern Art – Something over Nothing 2, c. 2003 |
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| Bindi Head #2, c. 2003 |
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| Chillagoe #2, c. 2003 |
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| Alfred Felton Centenary Sculpture, c. 2004 National Gallery of Victoria |
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| Chillagoe Relief #1, Variation on a theme - Felton, c. 2004 |
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| Chillagoe #5, c. 2005 |
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| Chillagoe Male Head #2, Variation on a theme - Felton, c. 2005 |
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| Thinking Woman, c. 2006-07 |
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| FW, c. 2007 |
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| Michelle Twelve, c. 2018 |
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| Louisa 2, c. 2009 |
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| Portrait of an Artist, c. 2010 |
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| Sara Delaney- a head of her time, c. 2011 |
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| little-i, c. 2012 |
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| y-i, c. 2012 |
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| flying-i, c. 2013 |
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| Walking Women - Standing Monash, c. 2014 |
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| Michelle Five, c. 2016 |
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| Michelle One, c. 2016 |
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| Michelle Three, c. 2016 |
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| Installation View, c. 2017 |
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| Michelle Eight, c. 2017 |
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| Michelle Ten, c. 2017 |
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| Michelle Fifteen, c. 2018 |
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