is chiefly because of this mystical perspective that the word sublime
has been used in regard to many of the subjects and themes of Mulleians
works, but nowhere is that word more appropriate than here. According to
Websters New Collegiate Dictionary,
the word sublime is defined as a state of being or of having
a quality of higher worth; something of outstanding spiritual,
intellectual or moral worth, tending to inspire awe, usually because of elevated
of beauty, nobility or grandeur.
this painting entitled “After the Hour” we
see the vacated streets of Jerusalem 2000 years ago, where Christ
was offered a drink of water.
as has been suggested elsewhere, Mulliens painting Dies
Irae is envisioned and executed on a symphonic scale, After
The Hour might be compared, in scale and
form, to that of the music written for chamber orchestra. It is intimate, it
is reflective, it is personal, and like the instruments in a string quartet,
the separate elements could be said to converse, one with the others. Indeed,
it is the multi-faceted elements within the work in dialogue with one another,
now stating, now developing, now defending and defining, that contribute their
own character and comment as the theme of the piece develops. Taken altogether,
it is this progression of tonal relationships within the work which ultimately
produce a surprisingly powerful statement about individual and collective transformation.
Renewal, transformation and rebirth, to a greater or lesser degree, are themes
explored in virtually all of Mulleians paintings.
its understated simplicity, After The Hour
is much like Mulleians painting, Moccasins,
in that in both works he employs a lush and poignant realism with the vivid
economy of a haiku. Yet as in so many of his works, it is the process of creating
meaning through symbolic relationships between the objects that enables the
artist to create an atmosphere and a working dynamic that can rightly be described
as mystical. In ferreting out those meanings the viewer takes part in the pursuit
of what is eventually realized as a spiritual reality through direct experience.
It is by means of intuition or revelatory insight that the viewer is able to
find the meanings, hiding in plain sight. Mysticism, at its heart, centers on
practices intended to nurture such intimate, immediate awareness through experience
by such subjective means.
The Hour Oil, 24"x18"
of the principle objectives of this work is to recover a more immediate experience
of truths that lie at the core of certain religious dogma, what one might term
the numinous presence. This, however, is not a question of theology.
Rather, it is an attempt to emphasize how spiritual/theological imagery reflects,
symbolically, the essence of what we call the Self
represent the intrinsic wholeness of our truest selves. For many believers,
the vitality of those truths has been obscured or lost altogether due to literalization,
oversimplification, or mechanical, dogmatic repetition. Consequently, those
truths have lost their transformative power. It is hoped by the artist that
a different way of looking at those truths, and a more immediate way of experiencing
them, will produce a transformation on many levels. It is a modest attempt to
suggest an alternative, creative option to the three basic motivations of human
existence: ignorance, desire, and the will to power.
scene is one of apparent, absolute simplicity, residual evidence of an event
that has taken place somewhere in time. Like the painting by the Dutch Master
Jan Van Eyck, the Arnolfini Marriage Group,
each object depicted in After the Hour
hints at a symbolic assumption far beyond its literal representation.
Indeed, like so many of the Dutch and Flemish paintings of the 16th and 17th
century, in After The Hour
symbols abound. We see a ladle resting in a barely flowing gutter of
murky water, an olive leaf and several twigs floating on the surface, a coin
resting at the bottom of the gutter. There is also water in the form of rain
plopping its print on the surface of the stream and saturating the porous paving
stones. Indeed the image of water saturates the whole painting. With the suggestion
of falling rain, slowly flowing water and the rebounding raindrops from the
waters surface, a visual rhythm and cadence is established, and the element
of time is introduced.
isnt immediately clear, however, that the time being referred
to is both temporal and eternal, a perspective which is, itself, both intuitive
and transcendental. Nor is it clear that this work is a snapshot of time intersecting
with material and spiritual power, but as the context of symbolic values is
established, those dimensions become more obvious. The one key object in the
painting, the coin, resting unobtrusively at the bottom of the gutter, is the
only clue as to the time period of the scene depicted. It isnt until that
clue is interpreted that the scene begins to make sense and the meaning begins
submerged coin is, in fact, a Roman coin that displays the image of the head
of Caesar clearly imprinted on its side. This, in addition to the drops of what
appear to be blood splattered over the pavement, oxidized to a dull brown, and
a wooden ladle, probably handmade, lying haphazardly in the gutter, complete
the pieces of the puzzle. Added together, these might be clues enough to suggest
the remnants of an event that was hurriedly disrupted, perhaps a gathering that
was roughly dispersed before its intention was complete. Otherwise why would
the ladle remain, or the coin not have been noticed and retrieved? One slowly
begins to understand that what we are looking at are the remnants of an act
of kindness that took place on an empty street in Jerusalem 2000 years ago,
the place where water was offered as comfort and relief to the fallen Christ
as he made his way toward his death on a hill outside the walls of old Jerusalem.
all of Christian doctrine the passion, death and resurrection of Christ are
the defining events that complete the divine reconciliation of man with God.
Such references would seem to be quite the opposite of secular in their implication.
So, one might assume from the start that the subject of this painting is religious
in nature. Or so it would seem. It is religious, in the sense that
it deals with the sacred in a secular setting. And that is the fundamental
point of the painting. Living, spiritual reality has little or nothing at all
to do with religion. What is depicted here is intended to take the viewer, through
subjective experience, into a territory that is profoundly more immediate and
relevant to the living of ones life.
anyone conversant with Christian Scripture this setting might recall the verses
from the New Testament text in which Christ declares If any man thirsts
let him come to me and drink. (John, 7.37-39). The artists use of
this implicit reference is deliberate and, at the same time, slightly ironic.
It is an attempt to step outside of traditional dogma and extract from the religious
impulse the immediate focus and vitality of a living spiritual truth beyond
the confines and trappings of what have become essentially dead or dying institutions.
In that process, it is hoped that one may recognize that direct experience of
the numinous must be re-envisioned from the very core of ones being. Indeed,
without such interior experience it is questionable whether any experience of
the divine can be seen as anything more than ephemeral entertainment. In a sense
the artists intention is to take the religious metaphor The kingdom
of heaven lies within. at face value and explore the properties of spiritual
experience first hand.
is required for this to happen is a willingness to participate in an introspective
process that transcends the defenses of the egos boundaries toward something
that must necessarily seem completely other, though indeed, its
potential realization lies deep within, in what Jung calls the archetypal dimension.
For many, such intimate immediacy is deeply threatening and too far above the
threshold of control for comfort. Therefore, embarking on such a journey further
requires an attitude of profound humility, but according to those who have journeyed
there before, and, incidentally, according to the vision at the core of this
painting, within the silence of such an attitude lies an abundance of providential
light. Such is the guiding principle and dynamic property of spiritual energy,
which is the light that emanates from the numinous fountainhead at the center
of this work.
is because of these factors that there is implicit in the painting a sense of
destiny. That is, a sense of the power or agency that determines the course
of events, both in the unfolding destiny of the figure of Christ as he progressed
toward his chosen end, but more significantly, in the suggestion that ones
own personal destiny will be determined through the nurturing of a more reflective
disposition and a greater awareness of the spiritual realities that emanate,
like a homing beacon, from within. Without using the ability to think symbolically,
man loses his innate ability to access and live his deeper symbolic nature.
In a materialist perspective, his symbols function merely as signs, devoid of
symbolic power, attached as they are to static meaning, becoming merely definition.
No longer do the symbols have the ability to be active in the mind or to transform
consciousness, sparking imaginative insights or creative realizations, new experiences
and transcendent actualization. The survival of mankind may ultimately depend
upon this single, symbolic factor. So, in this respect, it is both the individual
and collective destiny of mankind that is implied here. It is the artists
view that consciousness prompted by enlightened intuition, in order to be effective
and truly transformative, must be woven with threads drawn deeply from inner
intuitive sources, creating a fabric of perception informed by more than intellect
alone. Feeling is the silent shuttle at the heart of this process. In ones
perception, ultimately even meaning itself will be informed, indeed transformed,
by spiritual energy. And, it is the artists belief that it is just such
a power and agency, the spontaneous, autonomous life of the unconscious, which
inherently resides in each of us, waiting to show the way. To quote the artist:
Only in the center of our being will we be able to find the guidance necessary
to prevent our own extinction. Put another way (and paraphrasing the equivalent
allusion to the kingdom of heaven within), the source of wholeness lies within.
In this respect, conceptually this painting is strongly referencing the earlier
and in a more abstract yet more universal way, The
is useful at this point to consider the artists own commentary on the
context of this work:
allegiances for conquests, great empires succumb to the reverence in a ladle,
that nations may quench their thirsts with water without ever consuming its
contents...reveals the end of a legacy beneath an olive leaf...in a Caesar's
Roman coin then, represents a specific historical period, but one with a legacy,
it is implied by the artist, which is about to come to an end. It could be said
that the coin represents the materially dynamic element that makes all of the
other objects in the painting possible: from labor in quarrying and transporting
of stone, labor in construction of the passageway and its drainage, construction
and governance of the town and surrounding villages, the administration of social
justice, the keeping of order and the view to growing, developing and maintaining
of city and state interests; all are fueled by the principle and reality that
the coin represents. The coin is a symbol for the regulation and practice of
commerce and, by implication, with Caesars image impressed on its surface,
a symbol for the powers of state, the ruling elite, and ultimately, for materialism
itself. In this image there is also an echo of the admonition to render
unto Caesar that which is Caesars. (Matthew 22:21).
from that, one senses from the context of allegiances for conquests
that such distinct, intentional, all pervasive power is being viewed in a relative
if not pejorative light. There is indeed a disparaging aspect in the symbolism
of metal itself, in its unyielding hardness, coldness, and especially as it
relates to its uses as implements of war, of oppression and domination. Given
the circumstances in which the coin appears here, one could develop the argument
as to the barbaric, parasitic, corrupt or depraved nature of a ruling class
that uses military, political, or any other powers to control, oppress or exploit
the fear of the people it would dominate. So, in the single image of the coin
we have the symbol for human power, dominance and control and, considering the
evidence of the blood spattered pavement, the administration of power that was
excruciatingly brutal in relation to any perceived threat. Interestingly enough,
apart from the associations above, metals in general are thought of as prenatal
in the womb of Mother Earth, suggesting that matter is not evil in and of itself
but it is the use to which matter is put which determines its moral quality
and value. So, even the material chosen to symbolically represent the more uncompromising
aspect of this mystery is interpreted as having suffered from a form of corruption
but is potentially capable of being redeemed.
the left of the coin, past the bowl of the ladle, at the other end of an implied
spectrum is an olive leaf, floating on the surface of the water. The olive leaf
is a vegetation symbol of living, growing nature. It is organic, it has the
power to grow and to change, to constantly replenish in number, and by way of
their vast number, leaves in general connote people. In Chinese tradition the
leaves of the Cosmic Tree represent all the beings of the universe. While still
green, leaves depict hope, renewal, and revival, and can be thought of as expectation
in relation to spring hopes. Green also has long been a symbol for fertility,
balance, harmony, and stability. The olive leaf is a symbol of peace, fruitfulness,
purification, strength, victory and reward. In ancient Greece the leafy branches
of the olive tree were used to crown the victors of friendly games and bloody
wars. As emblems of benediction and purification, they were also ritually offered
to deities and powerful figures; some were even found in the tomb of Tutankhamen.
The olive branch was brought back to Noah to signal the end of the Great Flood.
Christs cross was said to have been made out of olive- and cedar wood.
It is estimated the cultivation of olive trees began more than 7,000 years ago
and a single tree may grow for several hundred years. One olive tree in Bar,
Montenegro, is claimed to be over 2000 years old. So, the traditions and associations
relating to the olive tree go back many centuries. In addition to longevity
and these other multiple aspects of meaning the olive leaf, along with the twigs
seen floating on the waters surface, are symbolic of transcendence.
the image of the leaf, there is more than a symbolic hint of the potential for
transformation of the material to the spiritual. To quote Jung on this
symbol ...a living spirit [which] grows and even outgrows its
earlier forms of expression
is eternally renewed and pursues its goal
in manifold and inconceivable ways throughout the history of mankind
names and forms which men have given it mean very little; they are the changing
leaves and blossoms on the stem of the eternal tree. (CW:11:par.538) More
about this later.
here is a hierarchy, or, if you will, a spectrum of power represented in this
work. There are two powers held in the leaf and the coin respectively, the powers
of nature vs. the power of man, with a third component represented by the water
in the ladle. The bowl of the ladle is the very heart of the painting, both
structurally and symbolically. Structurally, the bowl is the intersection between
what weve called the material and spiritual axes,
between the temporal and eternal, the absolute center, the unifying principle
uniting the multiple dimensions of time (past, present and, beyond time, eternal),
space (tangible and intangible), and energy (material, psychic and spiritual),
depicted and implied within the work. But most importantly, this intersection
is the point at which all forms of power meet, and it is at the surface of the
water where this union takes place. The question of whether this is the object
or the source of power, the synchronous coming together or the miraculous originating
outward burst of animating energy, is at this point unclear. But one senses
that, perhaps, it is both. If so, this would also be an instance of the union
to the reverence
that nations may
their thirsts with
ever consuming its
of a legacy beneath
olive leaf...in a
there are two elements that comprise this alchemical union. The first is to
be found on the surface of the purified water in the bowl. If one looks quite
carefully there will be seen a reflection on the surface of the water. What
is reflected are cumulus clouds in the heavens above, clouds which have parted
and are allowing a shaft of light to be cast on the scene below, surrounding
the ladle in a pool of golden light. At the same moment, it will be seen that
there are flecks of rain dotting the surrounding pavement and splashing on the
surface of the water in the gutter, water from the clouds pouring down to create
the beginnings of a thunderstorm.
using the image of a cloudburst the artist is making full use of the symbolic
value that has been associated with clouds for millennia. In all the great religions
throughout history, clouds have been used as the symbol to express the most
profound mystery of the nature of the divine, signifying the generative, the
destructive, and the enigmatic aspects of divinity all at once. At a more immediate
level, the image is also alluding to a fundamental enigma, to that which we
believe will forever elude our human understanding, precisely because it seems
beyond the range of human experience as one of lifes eternal mysteries.
The reflection on the waters surface is a threshold connection between
the ephemeral here and now, the so-called real world as we know
it, and the world of the spirit just below the surface.
second symbolic element signifying the multidimensional union at the waters
surface is the starburst of light that radiates from the base of the ladle bowl.
In spite of the dissimilarity of the images, the supernatural light is, in a
very subtle, symbolic sense, a mirror image of the clouds above, both being
the symbolic embodiment of theophany, the resonating manifestation of an ineffable
divine presence. At first glance, this light might be mistaken as a reflection
of the sunlight cast from above, until one realizes that the angle or tilt of
the ladle is such that any reflection of the sun would have to appear more toward
the center of the bowl. The light is clearly coming from the base of the bowl,
well below the waters surface, visually echoing the meaning hidden within
the image of the clouds.
peculiar, mismatched, irrational mirroring is the beginning of the suggestion
that apprehension is not beyond our human capabilities of comprehension, but
mere human, literal understanding is not able to fully grasp a comprehensive
meaning without allowing for a spiritual dimension. Like the 14th century text
The Cloud Of Unknowing, an anonymous work of Christian mysticism,
it is suggesting that we reach understanding not by rational, linear thought,
but by regarding intellectual entanglements as we would perceive our own reflection
in a hall of mirrors. Ultimately all of our finite, ego perceptions are self-referential.
In such a setting, the ultimate reality is finally beyond the grasp of the intellect.
essence, the unifying effect of cloud above and light below is essentially a
mystical perspective, intended to convey all that is meant by the word epiphany,
a term describing the manifestation or appearance of a divine or superhuman
being, but which also describes an illuminating realization or discovery leading
to a personal feeling of elation, wonder, and awe precisely because it is beyond
ordinary human experience. Such an encounter is a manifestation of the spirit.
This double aspect, the starburst of light as the sublime complement (that which
fills up or completes) of the essential nature of the cloud symbol, is intended
by the artist to signify a numinous event, a threshold experience,
an altered perception, completing the suggestion that all that has previously
been hidden is being revealed, and the answer to the unknown is being given.
One of the fundamental elements of the God-force is altered perception, the
divine manifesting in the hearts and minds of men, transforming the very essence
of what is known.
here, below the surface of the water, at the heart of the "spiritual dimension",
is the realm beyond the phenomenal world. The surface of the water is the gateway
to that dimension, and, as such, contains yet another duality, a two-fold significance.
The reason for this has to do with the double meaning of the word 'reflection'.
If we use the first meaning, 'to mirror', the result is that we see only at
a superficial, "worldly", "adapted" level, consequently
grasping the perception of any meaning or value in an intrinsically limited
way. In this aspect, one is seeing objectively, viewing only with the sense
of sight, seeing only with the eyes, while overlooking the potential to grasp
a deeper, more comprehensive, more profound level of perception and understanding.
on the other hand, we employ a second meaning, to reflect, in the
sense of inner examination or meditation, we then begin to see on a more subjective,
interior level. In doing so, we employ more than our sense of sight. Rather,
our intellect, intuition and, most of all, our feeling are all brought into
the process and combine to produce a deeper comprehension which is most likely
to better reflect our truer nature, character and inner need in
relation to the outer dimension. Both senses of the word reflect
are needed in order to understand the full nature of reality. But it is the
inner reflecting which creates a true relationship with the outer world and
produces an inner process that is most suggestive of totality, of a dimension
that transcends the material and tangible, revealing a reality that cannot be
seen with the eyes. By implication, the waters surface reflecting clouds
is, at the same time, the reflecting membrane between two dimensions, and, emphatically,
is the opposite of a barrier. Rather, it is the link bringing the two worlds
together, making it possible for our world to be part of the bigger, spiritual
dimension. And it is this dimension, the artist is implying, that is most likely
to transform not only the tension of opposites implicit in the leaf/coin duality,
but, indeed, to transform the very nature and essence of the human condition.