At first, the imagery in Bridget Mullen’s canvases for her show “Quitters” seemed difficult to parse; but I eventually found my way into her world by grooving to the works’ facture. Because she uses the ultra-matte vinyl paint Flashe, often in combination with acrylic or spray paint, the paintings’ surfaces look very dry, which somehow conflicts, in the eye’s mind, with the fluidity of her slyly workmanlike mark-making. The color is thinly applied in layers so that a sense of depth, volume, and plasticity coexists with an acute feeling for the flat surface—another perceptual conundrum. The effect is counterseductive in a curious way; it makes for a stance that is analytical but also intimately physical—a kind of deliberated immediacy. Impulse and control create an uneasy equilibrium.
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