WEDNESDAY, JUNE 16, 2010
La Mort de Marat – Jacques-Louis David
Death of Marat – Nikki Mull, 2009
The murder of Marat is quite a different experience than the detached curiosity of the examination in the Gross Clinic, or the blinding intensity of Cato’s suicide. Is revisiting characters from history and art history a much different experience for each character? Does each signify for you a different kind of death or relationship with death?
The Little Pastry Cook – Nikki Mull
You see blood in the red cloth held by Soutine’s pastry chef. Is this the blood of life, of creation?
When I looked at this painting of an exhausted man wiping his hands after a long day in the hot kitchen, I thought of Soutine’s other images of hanging beef carcasses. The man no longer embodied the baker but instead became the butcher, his hands dotted with red and his handkerchief soaked in bovine blood. In this light, his tired gaze became one of shock.
Cato Tearing out His Entrails – Nikki Mull
It seems to me that in your Gross Clinic, you are identifying with the doctor and not the patient. What do we need to learn or think about concerning the seemingly cold detachment from the death experience shown by your character and the doctor in the original painting?
In the “Gross Clinic,” I certainly am playing the doctor, the scientist, the man who revels in his power to disrupt nature’s path. You’re right that there is a cold detachment from the patient who doesn’t even have a face to us. I didn’t even consider playing the part of the patient because he is secondary to the smug, scalpel wielding man who takes a moment to contemplate his role in another person’s life and death. I went back and looked at the original painting while writing this and felt sad looking at those pitiful sock-covered feet and cloth over his face, clearly still alive but in discomfort. I don’t know what to think.
The Gross Clinic- Thomas Eakins
The Gross Clinic – Nikki Mull
Although I wasn’t trying to convey anything specific through gender, I did think about what was happening to the content of the pieces several times while working on this series. The only painting that didn’t bend genders was “Portrait with Necklace of Thorns” after Frida Kahlo. “Dead Toreador” came out strange because of my insistence on keeping these vivid white socks from Manet’s painting, creating kind of a school girl outfit for my version of the Toreador. Sans cape and weapons further removed it from the result of a competition where death is a possibility to a confusing incident where a girl lies dead on the ground. As for Marat, I liked the switch in gender roles because the original painting feels feminine to me: the scarf on his head, the reclined pose in the bathtub, the serenity of his face, the letter with the name of the female murderer clearly written upon it.
Dead Toreador – Nikki Mull
Bright red blood is sure to trigger an immediate visceral reaction from viewers. In your statement, you explain that you are exploring the idea of blood as death and life as well, and many of your incarnations in these paintings do not seem disturbed at all by its presence. What does this ‘blood of life’ say to you as an artist, and what was your experience in visualizing yourself manifesting it?
I intentionally used a very harsh color palette to really offset the blood. However, at the same time I abstracted the blood by making it a smear that sat upon the flat surface of the canvas as opposed to following the contours of the implied forms. I did this because I am playing dress up with the wounds. I needed that detachment because I was already separated by culture, by era, by economic and social conditions from the characters who were already once removed by the romanticization of the original artist. For me, thinking about death and blood makes me aware of life. The facial expressions in most of my paintings are quiet and contemplative. The sight of blood is merely an intense reminder of the energy pumping through our bodies as we move from birth to death. This is what I meant by the last sentence of my artist statement, “Sometimes between white light and black shadows there appear sanguine incidents of red.”
At the end of this process what guidance or feedback do you think your late professor would have given you? Have your ideas about the romanticism of pain and death changed at all throughout this process?
I don’t think that he would have liked the paintings very much. He’d have loved the color palette, but would have felt that I was too literal in the translation of the old paintings into my own. He was all about abstraction and taking away anything that wasn’t absolutely necessary. As far as my own ideas…I have a very romanticized image of his death that follows a dream that he shared with me in which he’s lying on a bed looking up and the walls fold down exposing him to the night sky. It isn’t, of course, the way it happened, but it’s a nicer version that makes it easier for me to deal with. It’s absurd, but most things are.
Thank you! To see more of this series, as well as other paintings and films by Nikki Mull, visit her web site,http://www.nikkimull.com/
POSTED BY PATRICK MCNALLY