Untitled 

Editor: Here we have an untitled portrait by Craig Mullins, a pencil or graphite drawing. There's something really melancholic about the sitter's gaze; the piece has this wonderfully somber and intimate feel, like we're intruding on a private moment. What do you see in this piece? Curator: For me, it's all about the unfinished quality. It's not a photorealistic depiction, it feels raw, like a fleeting impression caught on paper. Those smudged graphite areas around the hair almost make me think of the subject fading away or in the process of becoming. And what does that expression say to you? Editor: I see contemplation, maybe even a touch of resignation. Like he's seen a lot. But is that just me projecting onto the artwork? Curator: Not at all! That’s the beauty of portraiture, isn't it? The artist gives us a starting point, but our own experiences fill in the blanks. Look at the lines around the eyes and mouth—those details convey so much emotion without being overly descriptive. They're almost gestural in their simplicity. Notice the planes of the face suggested but not precisely rendered. What impact does that have? Editor: I see what you mean. That technique suggests movement and energy, like the subject is alive, constantly shifting rather than a still image. The lack of clear lines adds a vulnerable quality to the figure, but he has character at the same time. Curator: Exactly! It’s not just a representation; it’s a glimpse into a state of mind. Perhaps the sitter's mind wandered as Mullins worked, allowing emotion to leak in the gaps and unfinished moments. Now, tell me what do you carry away after thinking more on this piece? Editor: I didn't realize how much could be conveyed with such simple means. The incompleteness invites my interpretation, so it felt more like a collaboration between artist and viewer. Curator: That’s beautifully put!