Painting and story of Chico California in the summer of 1953.
This extraordinary painting, entitled, Day After Summergives a new meaning to realism, of such magnificent completeness. His astonishing attention to detail is unmatched in the world of art today. Here the artist poses questions relating to time, its nature, meaning, and passage, with a view toward learning of time’s effects upon our inner experience of living.
A skate left abandoned, lies leisurely in an hypnotic summer breeze, as innocence releases its grip from the distant sounds of children, as life to death foreshadowed in a fallen toy soldier, reposing within a world of trust in an era of unquestioning belief, emblemized in a Coca Cola bottle cap of a post-war era, fades into the seasons, in fallen leaves.
A ball invites a game of jacks with only a single jack, a precursor of things to come, prismatic light in the memories
of a passing day that still play under shaded trees.
Anyone who is familiar with Mulleian’s body of work will know that his paintings are seldom, if ever, meant to be taken strictly at face value. With a photographic realism that frequently reflects the chiaroscuro techniques of the old masters of the late 15th century, the subject matter in his various paintings display a diverse range of psychological, historical, and often supernatural perspectives, each invariably embodying multiple layers of meaning. Across the broad spectrum of his work, from the naturalistic arrangement of familiar objects in everyday settings, to the fractured but unexpectedly meaningful reality created by ‘thrown together’ objects, Mulleian creates a symbolically unified, characteristically understated, but always transcendently poignant whole out of seemingly unrelated elements; a method of representation that is summarized in the term “holotropic”, meaning “oriented or moving towards wholeness”. The method of expression is subtle, often poignantly so, but all the more satisfying when all the pieces are fitted together in the viewer’s understanding.
One simple example of this creative technique is found in the painting, Day After Summer. In this work, Mulleian makes use of a range of feeling-toned detail. The Coca Cola bottle cap, a battered old roller skate, fallen, drying, dying autumn leaves, a ball and single jack; all engage the viewer's memory and feeling in an affectionate, familiar way. Yet, each of these objects represents an activity or outlook representing past, present or future reality. The roller skate at the center of the composition might be seen as an agency of intention. It is synonymous with the playful freedom and expectant optimism of childhood, a nostalgic remnant of a more innocent past; while pleasure, perhaps even addictive, indulgent pleasure, emblematic in the image of a bottle cap to the left of the skate, suggests one end of an innocent spectrum of possibilities. At the spectrum's other end, to the right of the skate, are the toy soldiers, one fallen, one firing his weapon, a hint at impending realities, of death and duty, of conflict, killing and being killed in the service of collective might. Surrounding this trio of images are the leaves, newly fallen to dry and brittle, suggesting the passage of time, the progression of the seasons; while the ball and single jack suggest the future challenges of frustrated aspiration and insufficient means. The painting is not so much a narrative as it is a subtly complex meditation on common parameters within the arch of a single lifespan, set in the frame of sublime, idyllic unconsciousness. The initial feeling of the work is one of natural, static reality; a just-so statement about a single moment in time. Yet, at the center of the meditation, there is a hint of the cyclical infinity of finite things, the implied potentials of universal patterns that form the unifying contours of human life.
By Paul Deegan