EDGE OF ILLUSION: A Dialogue of Color and Geometry

In this new body of work, Daniel Mullen expands his exploration of the interactions and relationships between color and geometry. By limiting his palette, Mullen delves into perceptual subtleties, drawing on Josef Albers’ theories on color interaction. Through the deliberate use of three tones, the artist creates a visual space where colors transform and converse when juxtaposed, revealing optical variations and vibrations that emerge solely from their proximity. The central concept of his work is that color is not an isolated element but an entity in constant relationship, capable of opening new perceptual possibilities. As Henri Matisse noted, colors placed in proximity create a dynamic that transcends the mere sum of their parts. In his paintings, Mullen rejects flat representation. Instead, he seeks an illusory abstraction in which light, space, optical movement, and depth play a crucial role, approaching Neoconcretism with a dynamic and organic interpretation. By extending his painting practice into sculpture for this collection, Mullen presents his first works in steel, exploring the same geometry of his two-dimensional compositions now within a three-dimensional space. These pieces, formed by stacked planes that seem to capture a moment of movement, generate an atmosphere of emptiness and reflection. The contrast between the solidity of steel and the lightness of perceived space resonates with the visual illusions present in his canvases. The polished metal of the sculptures reflects the colors and light of the surroundings, incorporating the exhibition space as an active element within the work. In this way, the sculpture becomes an extension of the painting, where transitions of color and form are experienced not only visually but also as a sensory phenomenon that adapts to its context. Mullen’s work invites us to inhabit the tension between the precision of geometry and the fluidity of color, between the tangible materiality of sculpture and the illusionistic abstraction of his canvases. The works exist as both something and nothing at the same time, generating a dialogue between forms, colors, and lines that challenges our perception and opens new paths for contemplation.