Iridescent And Not Gonna Take It Anymore
This psychedelic painting oscillates between abstraction and figuration across the picture plane. Instead of sketching or initiating a composition with a concrete idea in mind, the artist begins each piece with decisive abstract marks, undulating lines and a layering of color. Each formal development on the canvas informs the next until the totality of choices begins to evoke characteristics of a body—eyes appear and gaze lazily, hair and eyelashes unfurl and arms and legs spring into motion.
Mullen uses repetition of lines and a stutter of pigment to allude to the passage of time or rapid movement. Through the artist's work, a visible tension between density and open space remains palpable regardless of composition. Mullen's work favors exaggerated compression or an illusion of elastic expanse. The artist's practice does not oppose sculptural dimensionality with flatness, abstraction with representation or solidity with fluidity—rather, each is a complementary half of an enigmatic whole.
Artist created deckled edges on paper
Bridget Mullen’s paintings oscillate between abstraction and figuration, flatness and dimensionality. The artist employs decisive and intuitive mark-making to create psychedelic compositions where density and open space are in visible tension. Mullen works without sketches or initial concepts, allowing each choice to inform the next; the resulting compositions evoke the body—eyes gaze lazily alongside unfurling hair while limbs spring into motion.