Untitled 

Curator: I'm drawn to the powerful narrative unfolding in this painting, simply titled "Untitled," by Craig Mullins. The scene bristles with a kind of stately power, wouldn't you agree? Editor: Yes, immediately struck by the sheer magnitude and density; it's like a choreographed display of humans and animals—all surfaces, and then more surfaces—how were these visual components put together? Curator: Consider the positioning of the central figure, raised high on the elephant—it resonates with the ancient symbolism of kingship, linking the ruler to qualities of wisdom, memory, and strength, often associated with elephants in numerous cultures. Editor: But also the labor required to put this image together; look at how many bodies and crafted tools or fabrics, painted so realistically, it's almost an index of the historical work of constructing such scenes of imperial dominance. Curator: True, yet note how the artist doesn't quite glorify. There's a certain stillness, an almost melancholic air, perhaps a nod to the impermanence of power. The symbolism, therefore, becomes complex. Consider the banners… Editor: And their weight—literal and metaphorical—do you see how Mullins emphasizes how these were manufactured, cared for? Also, what pigment did he use for these textiles? It's incredible! Curator: Red of course is symbolic. Blood and courage and sacrifice and the life-giving power of the sun; this procession isn’t just a display; it’s a potent visual statement infused with deeply rooted meanings that still affect us today. Editor: I think you have nailed how these materials generate the feeling and the weight of the moment. The scene reminds us of a precise moment that depended on countless processes in play, caught forever. Curator: Exactly. We are invited not merely to observe, but to contemplate. Editor: Indeed—thank you, Craig Mullins, for that opening.