Patricia Mulligan

‘To Him Pudel, Bite Him Peper’ or ‘Dog, Dog, Tiny King’, 2019
Works in paper and plastic: plastic anti-bunting, plastic and paper screen prints
Materials: plastic bin liners, newsprint, acrylic ink, nails.
Dimensions (Proposed):  274.2cm x 244cm (based on each print 45.7cm x 61cm, 6w x 4h)

Patricia Mulligan currently works and lives in London as a fine art lecturer, art tutor and practising

visual artist. Graduating from Goldsmiths’ Fine Art BA (2011-15), after gaining a Gen Arts MA

(majoring in Art History & Anthropology) from Edinburgh University. Mulligan also recently completed postgraduate study with Turps Banana (2016-18). Prior to this, Mulligan spent ten years in the digital agencies, working as a digital designer and producer.


Mulligan’s practice is rooted in painting, printmaking, and writing ( ‘In my studio work I’m interested in the relationship print-based and digital photographic imagery has with painting, and what painting can do to reframe or undo the printed or digital image, and the political, historical and psychoanalytic frameworks this might reveal. Exploring the edges, languages and processes of painting and printmaking.’ 


Recent projects include: The Visitors (Goldsmiths NX Project Space, 2016), Invasion Manual or How To Act In Extreme Situations Or Instances Of War (Art Lacuna, 2016), Rise & Fall (Blake Space, 2018), Return (Slade Summer School Residency, 2018), Of Possible Configurations (A-Side B-Side Gallery, 2018), Banality & Death in the Age of Social Media, (Deptford Does Art, 2019), Azreal  (Video Project by Mustafa Boga, 2020), Banality & Death in the Age of Social Media 2 (Godò galerija, Vilnus, 2020), Invasion Manual or Ready (TBC, Riga, 2020). 


- The Image. The hats perched and tilting from head to warring head. The dogs snarling. The bodies strangely hovering. 

Early cartoonists deployed armies of humans and animals to do battle on the page. Animals, conjured in the long tradition of the bestiary, companions, mascots or familiars to their Royalist and Round-Head masters. Dogs particularly, achieved mythologised status in the Royalist Prince Rupert’s demon dog Pudel, the subject of much Parliamentarian pamphleteering, and the equally mythologised Roundhead Curr, Peper; two sides of the English Civil War reduced to their animals: comical, bestial, atavistic.  

The hats bobbing, the fingers jabbing, the paws strangely hovering. On the pages. The attack, the whispering, the battling, back and forth, back and forth, tilting. 

One of the most enduring histories of the English Civil War (1642-1651) is the contemporaneous account written by the Royalist Earl of Clarendon, The History of the Rebellion & Civil Wars in England (1641-1651). The English Civil War was distinguished in British history for its inventive, scurrilous and prolific pamphleteering. Clarendon described this word war as ‘paper bullets’ and ‘paper-skirmishes’: early psycho-op warfare as vicious and effective as actual bloody combat.  





Social Media: @peetmulligan