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Catherine Mulligan
Painting is how I come to understand and articulate my feelings about existing in the world, to put it as broadly as possible. Uncertainties, insecurities, and unmet hopes or desires I aim to contain and resolve through a painterly language that is as often elegant and precise as it is awkward, sprawling, chaotic and clumsy. This mixture of dichotomies is meant to correspond to the actual confusion of categories I experience in both my emotional and aesthetic feelings, on a personal level; seeing the funny in the sad, the beautiful in the hideous and destroyed, the monumental in the minor. Using many carefully developed layers through under-painting, sanding, drawing and over-painting, I am both looking to masters like J. M. W Turner and attempting to illustrate the revised and shifting ways the world exists to me. Often, this world is that of the suburban strip-mall, and includes the detritus of modern life. My palette includes both pallid and pastel saccharine colors and harsher, more abrasive reds and oranges and browns. These are meant to evoke both the bodily earth tones and the more artificial color palette found in pop culture and advertising. Occasionally text (from a rub-on Letraset or my own hand) or ephemera fills in borders and relates uneasily, unclearly to the image depicted. Ultimately, my aim is to create paintings that serve as perhaps overly explicit accounts of experiences I've had (visual and psychological).
Painting is how I come to understand and articulate my feelings about existing in the world, to put it as broadly as possible. Uncertainties, insecurities, and unmet hopes or desires I aim to contain and resolve through a painterly language that is as often elegant and precise as it is awkward, sprawling, chaotic and clumsy. This mixture of dichotomies is meant to correspond to the actual confusion of categories I experience in both my emotional and aesthetic feelings, on a personal level; seeing the funny in the sad, the beautiful in the hideous and destroyed, the monumental in the minor. Using many carefully developed layers through under-painting, sanding, drawing and over-painting, I am both looking to masters like J. M. W Turner and attempting to illustrate the revised and shifting ways the world exists to me. Often, this world is that of the suburban strip-mall, and includes the detritus of modern life. My palette includes both pallid and pastel saccharine colors and harsher, more abrasive reds and oranges and browns. These are meant to evoke both the bodily earth tones and the more artificial color palette found in pop culture and advertising. Occasionally text (from a rub-on Letraset or my own hand) or ephemera fills in borders and relates uneasily, unclearly to the image depicted. Ultimately, my aim is to create paintings that serve as perhaps overly explicit accounts of experiences I've had (visual and psychological).
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Education
University of Pennsylvania, Bachelor of Fine Arts, 2010
Graduated cum laude
Pennsylvania Academy of the Fine Arts, Certificate, 2009
Notable Painting Awards
2013
Honorable Mention, 1st Annual Juried Exhibition, Cerulean Arts
The Maybelle Longstreet Prize, 72nd Annual Juried Exhibition, Woodmere Art Museum
Vermont Studio Center Residency with Grant
2012
Elizabeth Greenshields Foundation Grant
2009
Pennsylvania Governors Award
Robert A Ricker Memorial Landscape Prize
The Mindel Caplan Kleinbard Award
2008
Women’s Board Travel Scholarship
Hobson Pittman Prize
Frances Bergman Memorial Prize
Benjamin West Prize for Figurative Painting
2007
Cecilia Beaux Memorial Portrait Prize-Special Notice
2005
PAFA Merit Scholarship
Collections
Woodmere Art Museum
Pennsylvania Academy of the Fine Arts
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