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“At first sight it is real action-painting, the bright colors rapidly applied to the canvas all at once. But the addition of dripping grids, of sudden rectangular blocks of color in one of the two parts, once again restores order. And this is all done with great command of painting techniques. A poetic translation in paint of the condition humaine, which, as described by philosopher Octavio Paz, is characterised in our culture by being constantly torn between rationality and romanticism.” 


Jan Hein Sassen, former Conservator of the Stedelijk Museum Amsterdam

(…) To a remarkable degree, Mulder has mastered the full and exacting use of voids to express fulness. François Cheng, the historian of Chinese art, in his Empty and Full, makes the point when he writes , in reference to the space in Chinese paintings, is emptiness that foster interaction, even transmutation, between heaven and earth, and thereby, between space and time.

 ‘The Dark (Light) Inside the Light (Dark)’ 2005,  Dominique Nahas, New York City

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