Popularis is the name of a group of sculptures made by Berlin artist #SimonMullan. (Tresen), which is the German word for “counter”, is the subheading for the newest work of this series, which the artist created specifically for the public green between Almstadt- and Rosa-Luxemburg-Straße where it will be staying for the next four months. Like all works of the series it is a simple geometrical shape fully covered in tiles – which in view of the suggested use seems rather practical.
Ideas and interests the artist has been pursuing for years continue in (Tresen). After all, Mullan makes art almost exclusively from commercially available, functional materials and work utensils such as sandpaper, ceramic tiles and grout, bomber jackets, “worker’s” uniforms like boiler suits, and other mechanistic components that he takes apart, cuts and re-configures.
The formal vocabulary of Popularis (Tresen) is reminiscent of minimalism and constructivism and seems primarily committed to Euclidean geometry. In reality, Mullan’s way of producing has a lot to do with work, ethics and economics. Despite these rational approaches, the first cuts when laying the tiles are rather intuitive and as the Kleistsian idea only gradually develops when talking, the final laying pattern also only establishes itself as Mullan keeps working on the sculpture. It is quite important that all of the materials have their origin in the hardware store rather than in one for art supplies. It is also important, not to leave anything over – in this case offcuts. Therefore, each tiny piece of tile finds its own space
Generally speaking, process simply plays a core role in Mullan’s entire production. Obviously, it is also about the relation of size and material, techniques and art, calculation and coincidence. Essentially, there is a lot of complication in simplicity.