Marc Mulders is a painter, aquarellist, photographer and a glass artist. In his impasto oil paintings, he lets the seasons lead him. In the spring and summer of the 90-ies, he paints mostly flowers, such as tulips, irisses and peonies. Come winter, Marc reverts his focus to wild life such as pheasants and hares, as well as painting flowers from memory, as an act of longing for the season to come.
The paint is layered on thick. His works are alive with a whirling rush of energy. Marc Mulders paints the glory of nature with the fullest of conviction. Yet the flowers symbolise the fleeting of beauty, that decay is ever looming; a grim reminder of our own mortality.
The impressionist Claude Monet is an important source of inspiration for Marc Mulders. “Being part of a tradition to me is just as important as authenticity. I feel a deeply rooted kinship with Claude Monet and his Giverny-gardens filled to the brim with flowers, water and water lilies which compelled him to create works like Les Nymphéas in the Parisian Orangerie.”
Over a decade ago, Marc Mulders decides to leave the Tilburg inner city and settles down in a rural area, a act that gravely impacts his style. “I went from watching the flowing in close-up, from looking into the heart of the flowers as they sat in their vase in the atelier, to enjoying the wide vista over the flower fields. It is that architecture of nature, with all of its spaces I visit so often; dew, mist, sunshine, that became my leitmotiv.”, Marc Mulders writes in his journal My own private Giverny.
From the wide open doors of his barn-atelier at the Baest etate, he oversees the vast fields of flowers. During the process of painting, Marc Mulders seeks his inspiration in the colours and fragrantly scented fields, as well as from a variety of other media; books, magazines such as Vogue and works by other artists, such as American abstract expressionist Helen Frankenthaler. He uses images torn from the magazines as an aid, a support by kindred spirits, to help see him through the process of painting. All resulting in his typical floral abstracts.
Marc Mulders’ palet gradually lightens and brightens over time. The heavy darks have given way to airy and light whites, yellows and pastels such as lilacs and pinks. Black has of recent made a reentry in his work, yet be it less pronounced than before.
Marc Mulders also takes assignments for stained glass-windows. Some well-known examples are ‘A garden in glass’ made for the New Church in Amsterdam and ‘Judgment Day’ at the Saint-John’s cathedral in Den Bosch.
Mulders is a much-lauded artist. Many collections, both national and international, and both private as well as public, comprise works by Marc Mulders.