“Future Monuments 10.” All images © Daniel Mullen, shared with permission
What are the visual impacts of converging planes of color? This question is central to Scottish artist ’s most recent series of paintings, which displays stacks of thin, rectangular sheets in exacting, abstract structures. “I am looking more at Rothko’s body of work and studying the vibrations of color and the almost alchemic effect that his work has on the sense,” the Rotterdam-based artist tells Colossal.
Comprised of meticulous angles and lines on linen, the acrylic paintings are studies of precision, geometry, and perception, allowing each element to collide in a mathematically aligned composition. Mullen’s process involves measuring and taping the individual planes before laying the slight, translucent marks. “In this way, the work is built up slowly over time, incorporating irregularities, brush strokes, and bleeding paint into a work that breathes, floats, and expands through the energy of color,” he says, explaining further:
The forms might seem to reference glass panels or other architectural configurations but that is only the scaffolding for the viewer to locate themselves within. Beyond that initial shape is an attempt to move towards a perception of ekstasis; or the vibrant energy of the universe, imaginary and unmapped. One that questions the symbols of power and place in today’s fast-paced, heavily digitized environments.
The pieces shown here follow Mullen’s collaborative that translates non-visual senses to the canvas—he and artist will be working more on this concept during a residency in upstate New York early next year. You can follow updates to that body of work and explore more of his recent paintings on .
“Future Monuments 16”
“Synesthesia 85”
“Future Monuments 21”
“Synesthesia 64”
“Future Monuments 37”
“Future Monuments 43”
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