Mark Milroy, an observational painter in his mid-50s, has crafted a unique realm where observation, memory, and creativity blend seamlessly. During the pandemic, he gained recognition through Instagram and his website, along with two online exhibitions at Nancy Margolis Gallery in 2022 and 2023. These shows were complemented by digital catalogs. Following my exploration of his online work, I reached out to him via email. This led to a personal visit, where he drew my portrait soon after the World Health Organization declared the end of COVID-19 as a global emergency in May 2023. In 2024, Milroy held his first public exhibition at Pamela Salisbury in Hudson, New York, which I reviewed.
Although familiar with his art, I was unaware that ‘Jumbo’ at JJ Murphy, running through May 16, marked his New York debut. This exhibition features 18 paintings ranging from 10 by 8 inches (~25.4 x ~20.3 cm) to 60 by 75 inches (~1.5 x 1.9 m), alongside 12 colored pencil drawings displayed in a binder on the gallery desk. The collection predominantly includes still lifes and portraits, yet Milroy’s treatment of these familiar themes, particularly at larger scales, distinguishes this show. Poet Douglas Crase has cited Cedric Morris, an erudite and self-taught painter, as an influence on Milroy, along with the non-perspectival space and warm humanism of 15th-century Florentine painting.
The exhibition’s titular painting, ‘Jumbo’ (2023–26), references the famous P.T. Barnum elephant, tragically killed by a train in St. Thomas, Ontario, Milroy’s hometown, in 1885. The circumstances of Jumbo’s death remain ambiguous, raising questions about whether it was accidental or intentional due to his declining health. The painting depicts Jumbo entering from the left, seemingly stepping into a chaotic scene of fighting boys, serving as a reflection on violence and the facade of entertainment. Milroy prompts viewers to ponder whether Jumbo will step or charge into the fray, and where his sympathies lie.
In ‘Still Life with Poodle and Portraits’ (2026), Milroy employs trompe l’oeil techniques, showcasing postcards, reproductions, and drawings attached to a wooden wall with visible grain. On the left, a reproduction of a man looking down is pinned to the wall, with a cropped postcard of Piero della Francesca’s ‘The Flagellation of Christ’ partly covered by a drawing of a poodle. Beneath these, a black, featureless cow and a Renaissance portrait create a collage symbolizing Milroy’s inspirations and aspirations. This layered composition reflects his response to Della Francesca’s mathematical precision and deliberate arrangement.
Teaching art to middle school students, Milroy draws on diverse influences. His work, increasingly rich with narrative potential, stands out for its directness amidst a trend of ironic faux awkwardness. His straightforward approach aligns him with the distinctive style of Albert York, whose work Bruce Hainley described as a pursuit of lyrical intensity while confronting historical narratives. Milroy’s art intertwines this confrontation with elements of childhood memories, yearning, and affection.
