Dominique Mulhem was born in Neuilly-sur-Seine June 13, 1952.
1975: Training at the Ecole Nationale Superieure des Beaux-Arts in Paris.
His painting refers to pop culture and art Ownership (art) by his inspiration. His technique was initially very pop art with the use of the bomb and stencils and more hyperrealistic with airbrushing to become a modern pointillism.
It was the first multimedia artist inventing in 1979 the holopeinture where he mixed paint holography. He had to work in the early 70s on the different 3D rendering techniques. Beyond its highly representative form, his painting is primarily conceptual. The themes are the lives of people and things, without limit in treated subjects. All the work of Mulhem has the same theme: the concept of simultaneous vision. “The look from inside” as Pierre Restany said.
GERMANY, CHINA, COLOMBIA, KOREA, DENMARK, EGYPT, SPAIN, UNITED STATES, GREECE, FRANCE, HUNGARY, ITALY, LUXEMBOURG, MONACO, RUSSIA, SWITZERLAND.
Dominique retrospective MULHEM 1972-2009, City of Asnieres-sur-Seine, France.
PRESENCE IN MUSEUMS:
Museum of Holography, Paris, France.
Hungarian National Museum, Budapest, Hungary.
Museum of Holography, Washington, USA.
Zamalek Museum and Arts Centre, Cairo, Egypt.
PRESENCE IN INTERNATIONAL EXHIBITIONS
Dominique Mulhem develops a suite of amazing concepts, suite, analysis, updating, revisiting any of these terms is false but none are true, the most appropriate choice would be thinking.
Thinking back on as thought to further examine refraction and reflection as to take another propagation velocity of the history of art. It shall submit the artwork to a movement infinite in space and time.
In the 80’s Portraits of Artists planned painters and sculptors between past and future by offering a three-dimensional holograms vision. In the 90s his imaginary museum, Pierre Restany wrote: “Dream Creatures to a dream before painting it’s more!” In “I should say, because my eye has been unable to separate things, to erase this simultaneous vision, to separate the two elements “.In the 2000s Zones, timeless journeys in the words and sentences of Guillaume Apollinaire’s poem.
Every decade Mulhem shares his world view. Today his scars challenge us on different characteristics of our society to the standardized culture object of mass consumption. Between our secret desires of mutilation look at the work and social scarification whether ethnic, tribal or modern post these incisions on the skin of the painting signify membership revealed to the world the art by opening a new space a ventilation for a need to breathe again.
All the work of Mulhem has the same theme: the concept of simultaneous vision.