Artists share works they’ve kept hidden away until now. This section is inspired by Hans Peter Feldmann, who once, on the occasion of an exhibition, asked Fischli&Weiss to send him the images of works that they had never intended to publicly show


"The sedimentation of my process from the years 2007-2010 is stored in many hard drives in my studio. Had I been born years earlier, perhaps these drives would resemble a stack of flat files or even a painting rack... Rummaging through these collections, I clicked through the last stops of files that never became objects. These images work as markers in a sequence, stopping points along a path. The path is the route from autopoetic drive to object. This travel is the manifestation of an idea via technologies into materials to create objects of both cognition and desire. As I look back through the sequence of stops, it is as though I’m following a trail left leading back to a source - like the myth of the string left in the labyrinth. Yet as I comb the years from 2007 to 2010, the trail from sensibility to a clearer point of view becomes public, fascinating in how the “unfinished” stops reveal my position, inscribed in my works from 2010 to the present." 
Carter Mull, 2012

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Carter Mull (1977) is a young American artist based in Los Angeles. Most of his works consist in a re-elaboration of images through a series of visual layerings, which work on a formal as well as a linguistic level. Particularly attentive to the role that images occupy in contemporary society, his work provides an attempt to examine the ways in which the media shape our understanding of the world visually. In approach, he is something like a sculptor of images - images which he treats as matter that is not entirely unformed but, on the contrary, loaded with meaning. His subjects are therefore expression of an identity that is multiform, ambiguous, schizophrenic, derived from a process of superimposition and fusion, of subtraction and addition of the ingredients utilized.