Daniel Muller is one of ArtConnect’s Artists to Watch '22

Daniel Mullen’s work deals simultaneously with questions of absence and presence. His paintings offer a synthesis of these dualities by centralizing the viewer – first through an embrace of potent color, and then through an experience of geometric forms and perspective that bring the viewer to a threshold of an ever-receding space.

Daniel relies on his eye to create compositions, avoiding any digital aid. He works by applying thin layers of diluted acrylic paint, building up the saturation on the surface of raw linen. Imperfections appear (only visible in person), revealing the hand of the maker and juxtaposing with the digitalization that the high precision can suggest from afar. This raises further questions of reproducibility and uniqueness, especially relevant in a time when the world is increasingly saturated by images and an online experience. Mullen aims to ground the viewer in a physical moment of presence.

ArtConnect asked the winning artists to share with us a glimpse into their creative life to get a sense of their personal inspiration and artistic process.

How did you get started as an artist?

I grew up in a household where the arts were highly valued. With that encouragement, I began to express myself visually. Attending art school was the next logical step in my development and so I went to Amsterdam to study at the Gerrit Rietveld Academy.

How would you describe your artistic approach?

I’m a maker first and foremost. And as such, I’m experimentally driven – meaning I research by doing. Even changing one aspect of a composition, for instance, the color or distance between lines can have a vastly different effect. In shifting one variable at a time, there grows a long-term steady progression and evolution in my practice. Because of this, my methodology becomes almost systematic, and there is a continuity between each work, as one leads to the next.

And how about what inspires you?

I'm inspired by what's just out of reach, that which I maybe can't see yet but feel nearby. In terms of other artists, I seek reference and inspiration from those working in the Light and Space Movement of California, such as James Turrell, Peter Alexander, and Eric Orr. Formalistic elements in my work are derived in part from Bauhaus, and the color theory pioneered by Johannes Itten and expanded upon by Joseph Albers. Additionally, I'm drawn to the esoteric works by Hilma Af Klint.

What are the biggest challenges you’ve faced as an artist?

I struggle with the literal disconnect between the effect of my work when it's viewed in person versus on the internet. But I also see the positive sides of having such direct access via social media to a vast network of other artists, makers, and individuals interested in art. Additionally challenging is the fact that my visual language comes close to some form of digitization, which when viewed digitally can look much different than when viewed in the physical world.

The other big challenge I feel in my practice is the tension between spending energy getting my work out into the world and also having the time to continue developing the work.

Describe a typical day in the studio/wherever you make your work.

Often when I arrive at the studio I walk around and take stock of what I've been up to and make a plan in my head for that day. Then I do any administration that needs to be seen to, and after that, I get to the real work of production. Other times I get straight to painting accompanied by a good audiobook/podcast or some tunes. I try to work consistently with certain processes in the studio needing 100% focus from beginning to end.

Is there a medium, a process, or a technique that you haven't used in your work yet but would like to try out?

I have mainly focused on paint and linen to express my ideas. But in just the last few months I have begun exploring making works on paper and works on shaped wooden panels. Just this small step has expanded the possibilities in my practice an enormous amount. I am also excited in the coming years to consistently and systematically expand into materials that have a physical presence: such as glass, ceramic, and also non-physical materials such as light.

What are you currently working on? Or an upcoming project you want to mention?

I just completed a two-month residency during which I created a body of works on paper. With this new series, I am planning on making a publication alongside an exhibition of the actual work on paper, so this is currently my focus.

How does it feel to be selected as an ArtConnect Artist to Watch?

I’m grateful to receive some recognition for what I make, especially in a time when there are so many amazing and talented artists out there all vying for the same/similar spaces.


Anything else you want to add?
Here there’s a video showing the process of how I make my works.

See more of Daniel’s work

ArtConnect Profile | Website | Instagram