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Mul’s objects have organic qualities. They are like ephemeral entities, but ones aware of their figurative tendencies and their own artificiality. The artist often employs materials that allude to—in subtle, occasionally disturbing ways—corporeal elements such as bones, hair, skin, or bodily fluids. The emphasis on inconspicuous, everyday objects is not a casual gesture, but arises from an interest in “small variances, in transformations and forms of resistance in socially coded space.” Mul’s sculptures are like quiet commentaries on strategies of social exchange.
For the exhibition Das Budget at Kunsthaus Glarus, she has created a new series of works that center on folding as an act and metaphor—developed from earlier investigations into the structure and logic of folding in her work series Unnamed Charms, in which compact, tightly folded, bijou-like objects made of silicon are combined with hair and small plastic bones. In the current...More
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Press Release
Mul’s objects have organic qualities. They are like ephemeral entities, but ones aware of their figurative tendencies and their own artificiality. The artist often employs materials that allude to—in subtle, occasionally disturbing ways—corporeal elements such as bones, hair, skin, or bodily fluids. The emphasis on inconspicuous, everyday objects is not a casual gesture, but arises from an interest in “small variances, in transformations and forms of resistance in socially coded space.” Mul’s sculptures are like quiet commentaries on strategies of social exchange.
For the exhibition Das Budget at Kunsthaus Glarus, she has created a new series of works that center on folding as an act and metaphor—developed from earlier investigations into the structure and logic of folding in her work series Unnamed Charms, in which compact, tightly folded, bijou-like objects made of silicon are combined with hair and small plastic bones. In the current...More
