July 1st-August 26th 2011
Helen DeVitt Jones Studio Gallery
Chelsey Mulnix is a twenty-something mixed-media artist living and practicing in the DFW area. Her work is primarily oil on birch panel though she uses a variety of materials, most notably textiles.
Since graduating from Lubbock High, Ms. Mulnix received her BFA in Painting and Drawing from the University of North Texas. In 2010, she received the Clare Hart DeGolyer Memorial Grant from the Dallas Museum of Art for her current body of work. She now resides in Dallas where she has been a part of numerous gallery exhibitions and shows around the area.
Ms. Mulnix enjoys sweater-weather and introversion
My interests have always included thoughts of alienation in the midst of togetherness and the perpetuation of memories as truth despite their lack of reliability. To accomplish this, my work implies an emotional language through the use of various materials in attempt to evoke feeling through often-ambiguous narrative. To push this further I isolate myself from the imagery allowing me to take a scientific approach to investigating the chosen images. Not surprisingly, this intentional isolation causes a personal longing to be included in the imagery, which ultimately takes form in my reinterpretation of each scene.
The images themselves are taken from strangers and situations unknown to me in order to combat any personal rigidity of interpretation based on memory, which of course is entirely impossible. My source material is largely taken from social networking sites and lends a sense of voyeurism to the work that serves to put distance between myself and the depicted situations and ultimately engages the viewer. This attempted detachment from the images allows me to reinterpret a stranger’s memory so that it can then be totally reevaluated by the viewer using their own preconceptions and biases. Thus the viewer and his/her interpretation becomes part of the construct of the body of work.
Personally I give more weight to evoking the ephemeral than creating concrete stories within the loose larger narratives that appear in each image. The work’s larger narrative constructs of loneliness, exclusion amongst inclusion, and the absurdity of memory exist in every piece to invoke tension in the form of paradox. I am fascinated by the coexistence of incongruent ideas in our culture, our media, and our personal lives and a large part of my work is a personal examination of my own contradictions. Beyond interpretation I would like to encourage the viewer to do the same: to examine his/her irrationalities, contradictions, and biases and to question what affect these things have over actions and interpretation