For individuals on the autism spectrum, communicating through visual art can have a positive outcome in establishing their position within the culture at large. This is the case for contemporary artist Marlon Mullen, whose work is featured in the 2019 Whitney Biennial. Mullen is non-verbal, however he utilizes alternative methods in order to speak to others and make his mark on the world.
Mullen has found his means of expression through painting in a style that is both very raw and very refined. His painterly vocabulary is focused on a combination of abstract text and imagery, which he acutely mines and synthesizes from fine art magazines and other cultural periodicals. His form and content often derives from advertisements for exhibitions, article headlines or the covers of these magazines, but the context of his work is unique.
The extent of Mullen’s literary comprehension is unclear, and since he isn’t able to verbally converse about his art it would be unfair to make assumptions about his creative intent. However, his aesthetic output signifies clear and concise insight and skill for using visual cues, representation and abstraction in an advanced manner. His paintings reflect the language of modern and contemporary art by breaking down a myriad of representational and non-representational forms into symbolic shapes and color, therein creating new avenues for the viewer’s experience. The paintings require applying acute perception and judgement from both the artist and viewer. They elicit observational (realistic and practical) and intuitive (theoretical and knowledge focused) modes of thinking (cognitive learning) and feeling (social-emotional learning).
Mullen is a strong participant of visual culture with a significant talent for making new meaning from the materials and subject matter he interacts with. His re-presentation of aesthetic and functional aspects within cultural publications utilizes studio habits of mind such as noticing deeply, embodying (experiencing works of art and representing that experience physically) and creating patterns and relationships from what he sees in other aesthetic forms expressively within his own voice.