ONE TOO MANY MORNINGS​
​
​
MURRAY CLARKE
ALBERTO LAMBACK
April 24th - May 16th 2026
Opening Reception: April 24th 6-8pm
​
.jpeg)
Murray Clarke, Calla Lilly, 2026, Oil on canvas, 44 x 81 in (111 x 205 cm)
One Too Many Mornings brings together works by Murray Clarke and Alberto Lamback around a shared interest in interiority—both as a physical space and as a psychological condition. While their approaches differ in scale and construction, both artists turn inward, building images that feel rooted in personal rhythms, habits, and states of perception.
​
Clarke’s paintings unfold through repetition and accumulation. Recurring motifs—luxury pajamas, scarves, folded textiles—are layered into compositions that feel both staged and lived-in. These surfaces carry a tactile presence, where pattern and texture begin to structure the image as much as the objects themselves. The works suggest an interior world shaped by routine and material intimacy, where comfort, excess, and familiarity blur into something more ambiguous.
​
Lamback’s small-format panels operate on a more intimate register. His images—fragments of skin, light, and flowers—feel fleeting and deeply personal, as if caught between memory and sensation. Built through subtle layering, they resist full clarity, allowing forms to emerge and dissolve within soft, shifting atmospheres. In dialogue, the two practices trace different paths into the interior: one through accumulation and surface, the other through condensation and disappearance—both holding onto moments that feel just on the edge of slipping away.
Alberto Lamback, Quarenta graus, 2025, Oil on wood, 6.4 x 5.1 in (16.5 x 13 cm)
ARTISTS BIOS

Murray Clarke (b. 1990, United Kingdom; lives and works in London) is a British painter whose work examines perception, repetition, and the psychological charge embedded in everyday imagery. Working primarily in oil on canvas, Clarke creates highly focused compositions derived from fragments of the body, clothing, and tactile surfaces, isolating details that oscillate between familiarity and abstraction.
Often cropping his subjects tightly, Clarke removes narrative context to foreground texture, pattern, and gesture. Repeated motifs—folded fabric, hands, and surfaces rendered at varying scales—produce a subtle tension between mechanical reproduction and painterly sensitivity.
Through meticulous attention to material detail and tonal modulation, his paintings heighten the sensory qualities of touch and vision, transforming ordinary encounters into sustained visual experiences.
Balancing precision with ambiguity, Clarke’s work explores how images circulate and repeat, questioning authenticity, presence, and perception in contemporary visual culture. The resulting compositions feel at once intimate and detached, inviting prolonged looking while resisting fixed interpretation.
Clarke has exhibited internationally, including presentations with De Boer (Los Angeles) and Arden + White Gallery (CT). His work is held in private collections across Europe and the United States.
​
Alberto Lamback (b. 1985, Brazil) is a painter whose work explores the instability of images through layered, process-driven compositions. Drawing from organic motifs—most notably floral forms—his paintings unfold as dense, rhythmic fields where elements emerge, dissolve, and reconfigure across the surface. Rather than depicting nature directly, Lamback constructs environments that feel in flux, oscillating between figuration and abstraction.
Working primarily in oil and acrylic on panel, Lamback builds his compositions through successive accumulations and interruptions, allowing traces of earlier gestures to remain visible beneath the final image. His surfaces are marked by a tension between control and spontaneity, where saturated color is both heightened and diffused. This approach produces paintings that feel at once immediate and distant, as if filtered through memory or mediated perception.Rooted in a sensibility attuned to the sensory and atmospheric conditions of his surroundings, Lamback’s work engages with nature as a shifting field rather than a fixed subject. His paintings reflect an interest in how images are constructed, remembered, and transformed—positioning perception itself as something fluid, unstable, and continuously renegotiated.