Erin Mullenex
installation of evidence irrational fears

i sincerely doubt this is as weird as it gets

dorothy encounters a changing economy

and behind the final door…

a life long love of anatomy begins, under the monkey bars in a glass of milk



(from left to right)
spelunking is for lovers*

historical site, modern sensibility*

treats made for you, brought to you*

there’s has to be a way through somewhere around here*



(from largest to smallest)

*please feel free to open spelunking is for lovers*

historical site, modern sensibility*

treats made for you, brought to you*

there’s has to be a way through somewhere around here*



(from largest to smallest)

*please feel free to open
thirty years of mother/daughter bonding

lady devo dance party (whip it)

a funny thing happened on the way to the aquarium (total conversion)

shaking up the past*

a delicate balance



(from right to left)

*please feel free to pick up and examine
A playwright or a mechanic (childhood dreams) tastesetters

family dinner (the kids prefer pizza)

my faithful flock

familial dichotomy

missed career opportunities



(from left to right)
inspirational materials, 2005-2008*



*please feel free to open and examine
inspirational materials, 2005-2008*



*please feel free to open and examine
common interests displayed

making a monument from an anthill

tartans of the world

more and more like my mother everyday

how much can you give up before you lose it all?

noses pressed to glass



(from top to bottom)
my! how the tables have turned

the most precious gift

shrine for the land

i was the kid who read too many books*


	
(shortest to tallest)

*please feel free to open my! how the tables have turned

the most precious gift

shrine for the land

i was the kid who read too many books*


	
(shortest to tallest)

*please feel free to open

wanderlust (foreign ground) around here “bored” is a four letter word
evidence
1010 Gallery, Knoxville, TN
March 2009

I am a collector. My collection is an effort to preserve objects and places that are not present. I use ephemera to serve as memorials to the objects that I have gathered, as well as to that which they signify.

I organize my collection, cataloging objects and their meanings. The goal of this categorization is to generate new spaces where that which is fleeting can become permanent, worlds where the fantastical collides with the real, and monuments to the ever-present past, as well as, to that which has never existed.

My collection is the physical evidence of the intangible. Yet, it is also evidence of a set of actions and choices, of the process of collection. In this way, it becomes evidence of the collector
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