NIGEL MULLINS, Bring Back Lost Love (London Olympics 1908), 2016
Oil and copper wire on superwood, 40 x 38 cm
NIGEL MULLINS, Dog from the Roman Empire, c 1st Century BC
oil on supawood, frames and copper wire, 45 x 64 cm
NIGEL MULLINS, For Inexplicable & Disturbing Unpredictability, 2016
Oil and wire on superwood and frame, 77 x 62 cm
NIGEL MULLINS, Goddess of Democracy, 1989
Oil on superwood and frame with copper, 147 x 76 cm
NIGEL MULLINS, Gathering in Moscow, 1991
oil on canvas with frame and supawood, 150 x 200 cm
NIGEL MULLINS, Heroic Prosperity (Homage to Lorraine and Griff Mullins), 2015
OIL ON SUPERWOOD, WIRE AND ANTIQUE FRAME, 75 x 100 cm (29 1/2 x 39 5/16 in.)
NIGEL MULLINS, Horse Frightened by a Lion, after, George Stubbs, 1770
Oil on Supawood & Frame, 53 x 63 cm
NIGEL MULLINS, May Overcome Confirmation Bias, 2015
OIL ON SUPERWOOD AND ANTIQUE FRAME, 57 x 68 cm (22 7/16 x 26 3/4 in.)
NIGEL MULLINS, Protect You from Extraordinary Calamities of the Future
Oil on superwood and frame, 84 x 45 cm
NIGEL MULLINS, Painting from Le Confinement #3
watercolour, goache and acrylic on paper, 40 x 30 cm
NIGEL MULLINS, Painting from Le Confinement #2
watercolour, goache and acrylic on paper, 40 x 30 cm
NIGEL MULLINS, Painting from Le Confinement #1
watercolour, goache and acrylic on paper, 40 x 30 cm
NIGEL MULLINS, Painting from Le Confinement #4
watercolour, goache and acrylic on paper, 40 x 30 cm
NIGEL MULLINS, Painting from Le Confinement #5
watercolour, goache and acrylic on paper, 40 x 30 cm
NIGEL MULLINS, Touch Here for Heroic Prosperity & Unlimited Progress, 2016
OIL ON SUPERWOOD AND FRAME, 67 x 94 cm
NIGEL MULLINS, Touch Here to Overcome Anti-Utopian Forces, 2016
OIL ON SUPERWOOD AND FRAME, 53 x 43 cm
NIGEL MULLINS, VE Day Mass Gathering, 1945, New York
oil on canvas with framed ink and water colour on paper, 140 x 110 cm
NIGEL MULLINS, Zone of Alienation, After, The Incredible Journey By Damien Hirst
Oil on mirror and frame, 43 x 56 cm
Nigel Mullins’ painterly exploration makes use of sumptuous impasto, veering between figuration and abstraction without restraint. The artist applies his material as libations covering a sacred artefact or an amulet: fetishistically. The paint, dense in meaning and referential value, thickly covers the support as it alters and constructs. This explicitly references the painting as a thing; a support to which meaning (as material) is applied often in layers and over an expanse of time.
Nigel Mullins’ painterly exploration makes use of sumptuous impasto, veering between figuration and abstraction without restraint. The artist applies his material as libations covering a sacred artefact or an amulet: fetishistically. The paint, dense in meaning and referential value, thickly covers the support as it alters and constructs. This explicitly references the painting as a thing; a support to which meaning (as material) is applied often in layers and over an expanse of time.
Specialists in contemporary art from South Africa. Established in 1913. South African artists are part of the global conversation. We seek to make their voices heard.