An exhibition of Mullican's ceramics, photography and computer drawings were exhibited in a re-purposed commercial space in Beverly Hills as part of a series of installations hosted by the non-profit, Equitable Vitrines from October 3 through November 21, 2015.Wikipedia
A wide range of Mullicans life experiences -- cultural, philosophical, and artistic -- have influenced his painting style. More than his college training, which yielded little beyond some technical development, it was Mullicans term in the army that proved most artistically formative. Drafted into the war as a topographer, his training and eventual service in Hawaii and Japan demanded innumerable recordings of aerial photographs. This process, ingraining shapes and patterns from birds-eye perspectives into his drawing habits, cultivated his preexisting appreciation for naturalistic forms and abstract patterns. Additionally, access to museums and libraries of the East Coast and Hawaii during this time presented him the opportunity to ponder contemporary trends and thought in the art world, an art world effectively hidden from the Midwest. Specifically, his knowledge of (through the magazine Dyn) and ensuing friendship with Wolfgang Paalen exposed Mullican to non-western antiquity as well as to Paalens transcendent philosophies born out of the European Surrealist movement.
Rarely is this element of paradox more evident than in examples of his Guardian canvases, completed between 1978-1980. Abstract patterns weave together vertically and horizontally, conjuring images of mysterious figures in a manner reminiscent of Pre-Colombian textiles. This historical influence --which Mullican admits to be a factor -- would seemingly locate the work within a particular time frame. However, the vague nature of the beings in the paintings, their lack of specific titles or features (along with Mullicans insistence that they bare no chronological significance), seems at odds with the former conclusion; it speaks of universality.