Untitled 

Editor: We're looking at an untitled charcoal drawing, presumably a portrait, by Craig Mullins. It's striking how delicate it seems, yet there's a real weightiness to the figure depicted. What stands out to you about it? Curator: It’s interesting how this piece, rendered in such a traditional medium as charcoal, still feels so contemporary. We're accustomed to seeing Mullins' digital paintings. The history of portraiture, particularly depictions of men, is so tied to power, wealth, and status. Here, stripped down to monochrome and raw mark-making, it feels incredibly vulnerable, even private. Do you think that rawness alters our perception of masculinity as depicted in art? Editor: Definitely. The unfinished quality invites introspection, rather than projecting authority. It feels less like a declaration and more like a fleeting observation. But why do you think he left it untitled? Does the title change its value or historical meaning? Curator: Leaving it "Untitled" does several things. Firstly, it democratizes the image – anyone can project their interpretation onto it. It pushes the audience to engage, instead of passively receiving a pre-packaged narrative. Art history often revolves around naming, labeling, and categorizing; the absence of a title subverts that very act. Editor: That makes sense. It forces us to consider the subject devoid of context. What impact does the gaze (or lack of) have on the historical significance of the art work? Curator: The closed eyes drastically shift our dynamic with the subject. Typically, portraiture involves a direct gaze, a confrontation even, establishing a power relationship. Here, there's an unconsciousness. Historically, such depictions might relate to funerary practices or explore themes of mortality. What do you make of its realism? Editor: The realism almost acts as a bridge, inviting empathy and shared human experience. This has really broadened my understanding of how portraits function beyond simple representations. Curator: Precisely. The act of looking and seeing critically, beyond face value is rewarding and it opens doors to fresh ideas.