Kathleen Mullaniff

Kathleen Mullaniff is a figurative painter. She trained at the University of the Arts, Camberwell College of Art and Design (BA Fine Art Painting), and the University of London, Goldsmiths College (MA Fine Art). She has exhibited her work both nationally and internationally. Exhibitions have included ‘Paisley: exploding the teardrop’ at PM Gallery and House, which features paintings derived from the Paisley Museum collection, and ‘Collect’ at Hastings Museum and Art Gallery. Recently, she co-curated ‘Garland’ at MYB Textiles and ‘Textile and Memory’ at The Dick Institute, Scotland, as well as participating in the Royal Academy Summer Show. Other exhibitions include ‘Fully Awake’ at The Holden Art Gallery, Manchester; Hurriers: Poor on the Roll at APT Gallery and Five Years, London; and ‘Pull my Thread’ at Brantwood House, the home of John Ruskin. Kathleen is a member of the London Group and recently participated in ‘The London Group Annual’ at the Royal Water Colour Society in London. Her floral paintings have been featured in projects within the UK hotel and workplace sector, including the Corinthia Hotel London, Belmond Cadogan Hotel London, and the Stafford London. She is represented with Artiq at the Old War Office, London, The Whitley, London, and Convene Sandcroft St Pauls, London.

“Kathleen’s paintings are laden with vibrant colours, reminiscent of the full blooms she depicts. Kathleen paints fluidly using a lively palette. Her paintings exhibit dynamic compositions, drawing the viewer into the centre of these floral worlds.”

6 questions with Kathleen Mullaniff

We ask our emerging artists 6 questions to uncover what drives their work, practice, and creativity.

What themes or questions do you find recurring in your work?

Over several years, I have been fascinated by plants and flowers. My studio is located in the garden, and I use the ever-changing seasons as a reference for my paintings. I am also interested in Textile Studies, in particular floral prints and embroidery. I have carried out research in terms of the ‘invisible’ makers of historical floral textiles, I often use these artefacts as inspiration.

Can you describe a pivotal moment in your journey as an artist?

There have been several pivotal moments as an artist, particularly using the flowers and plants in the garden and working directly from this location to work quickly and to eco the fleeting moments in plant growth.

What materials or processes are most important in your practice - and why?

As a painter, my fascination with materials is the oil paint and how you can use slow and careful brush marks and in contrast to this, the application of brush marks that are fast and urgent. Both approaches have the potential to convey ‘the passing of time’ in the finished work.

How do you want people to feel when they experience your work?

My floral oil paintings are painted quickly with oil paint. I would like people to appreciate the natural world, and equally, the optimistic energy I try to engender in the excitement of the painting process.

What does a typical day in your studio look like?

My studio time is divided between preparation for paintings, stretching canvases, mixing the paint, making watercolours, drawing and looking through my floral source material for references. Given that the studio is in the garden, I also do gardening work and come back into the studio refreshed and inspired.

What dreams or hopes do you have for your artistic journey?

I have painted since an early age, and my hope is to continue experiencing the challenges of what I call ‘the picture plane’, which is a 2-dimensional surface with endless possibilities to create an alternative world in a painting.