Mullin’s three-dimensional still lifes explore the potential of the frame, the tradition of still lifepainting and forms of representation. The bent displays on which the vessels and oralarrangements are placed replicate the form of the cyclorama - the photographic space thatdissolves the line between oor and wall. By extending the shelf’s patterns onto the actual space of the gallery’s walls, Mullin spins a web of meta presentations between the at image,object, and real space.
Mullin’s visual and historical in uences can be found in a variety of genres including ancientCycladic vessels, Gunta Stozl’s heavily patterned weavings, the pleasure palaces of Rajas- than, Jerome Robbins choreography, the frivolous decorative style of Josef Hoffmann and the Wiener Werkstätte, design motifs from the Eighties, and fashion photography.
Alluding to the human body, each vessel is uniquely shaped, some placed individually, some as pairs or in small groups. Each vessel in the front room is patterned with a wax resist beforeit is dipped in white glaze, and the raw clay body beneath reveals itself after ring. The colorsrange from a creamy white to a deep burnt umber brown. The ceramics in the back space ofthe gallery are red in the traditional Japanese process of Raku in which the pieces are re- moved from the kiln while they’re still glowing hot, and placed in containers of combustablematerials to achieve painterly glaze effects and crazing. The sprouting nature of the owersand foliage placed inside of the vessels emphasizes that the work is both haptic and optic— they are activated when they are adorned. Proud, almost theatrical, they carry themselves in a grand manner, eager to take on the stage.