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Jill Mulleady’s work is haunted by ghosts. Present ghosts, past ghosts, ghosts of ruins and ghosts of people and ghosts of creatures; and also the ghosts of ideas, the ghosts of images. The ghost is both an expression of an idea, a personality, a feeling, and a monster that appears in familiar context, bringing as Hamlet might put it, “airs from heaven or blasts from hell.” The ghosts force us to make a choice that we might not otherwise want to make. Such a haunting is personal, present, examined as an outgrowth of the self in Fiamma Rossa, at Sant’Andrea de Scaphis.
Mulleady’s ghosts occasionally explicitly reference the past. In Nymph (2024), a figure examines a flower seemingly for the first time, understanding it in detail. Mulleady uses the work to explore the tension between the numinal and lived reality: the image is from Böcklin, recalling Mulleady’s Swiss roots, but in the flowing of silk and sunlight, fixed in an instant of examination, it...More
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Press Release
Jill Mulleady’s work is haunted by ghosts. Present ghosts, past ghosts, ghosts of ruins and ghosts of people and ghosts of creatures; and also the ghosts of ideas, the ghosts of images. The ghost is both an expression of an idea, a personality, a feeling, and a monster that appears in familiar context, bringing as Hamlet might put it, “airs from heaven or blasts from hell.” The ghosts force us to make a choice that we might not otherwise want to make. Such a haunting is personal, present, examined as an outgrowth of the self in Fiamma Rossa, at Sant’Andrea de Scaphis.
Mulleady’s ghosts occasionally explicitly reference the past. In Nymph (2024), a figure examines a flower seemingly for the first time, understanding it in detail. Mulleady uses the work to explore the tension between the numinal and lived reality: the image is from Böcklin, recalling Mulleady’s Swiss roots, but in the flowing of silk and sunlight, fixed in an instant of examination, it...More
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