Depictions of Living 2020
Banal Death 2019
Return 2018
OPC 2018
Rise and Fall 2018
Sleepers 2017
Once in a Lifetime 2016
Invasion Manual 2016
Mud 2016
Metamorphosis 2015
You poo-poo... 2015
Cutouts 2015
Linos 2015
The Master 2015
Artishok Bienniale 2014
Untitled (Bear Wars) 2014
Cartoon Capers 2014
Hoods 2014
Inter_ 2012
i @peetmulligan







Depictions of Living (2020)
Art Pavilion, London
Group show of artists working within climate and political activism
Supported by Greenpeace & Extinction Rebellion
Curators Roshi Khakban and Samuel Ivan Roberts

Patricia Mulligan
‘To Him Pudel, Bite Him Peper' or Dog, Dog, Tiny King
Works in paper, plastic: plastic anti-bunting, plastic and paper screen prints
Materials: plastic bin liners, newsprint, acrylic ink, nails.
Dimensions:  274.2cm x 244cm

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The Image. The hats perched and tilting from head to warring head. The dogs snarling. The bodies strangely hovering.

Early cartoonists deployed armies of humans and animals to do battle on the page. Animals, conjured in the long tradition of the bestiary, companions, mascots or familiars to their Royalist and Round-Head masters. Dogs particularly, achieved mythologised status in the Royalist Prince Rupert’s demon dog Pudel, the subject of much Parliamentarian pamphleteering, and the equally mythologiesd Roundhead Curr, Peper; two sides of the English Civil War reduced to their animals: comical, bestial, atavistic.

The hats bobbing, the fingers jabbing, the paws strangely hovering. On the pages. The attack, the whispering, the battling, back and forth, back and forth, tilting.

One of the most enduring histories of the English Civil War (1642-1651) is the contemporaneous account written by the Royalist Earl of Clarendon, The History of the Rebellion & Civil Wars in England (1641-1651). The English Civil War was distinguished in British history for its inventive, scurrilous and prolific pamphleteering. Clarendon described this word war as ‘paper bullets’ and ‘paper-skirmishes’: early psycho-op warfare as vicious and effective as actual bloody combat.

A long-held truism among historians: every generation (of historians) refights the English Civil War. In this generation it’s crept out of the history books and into real life, and our English Civil War is being fought not through pamphlet but social media. ‘Sovereignty’ is a tattered banner masking debates over climate action, progress, globalisation, austerity... The imagery reinvents the archetypes of the pamphlets: animals still ciphers in this modern-day bestiary, still hinting at more atavistic urges beneath. The imagery still a detritus, a symptom of incomplete suppression. The death wish, opportunistically finding a new unguarded route to the surface by digital means: cruel, destructive, anarchic, infantile, and sadistic, wishing to divide and destroy.

The hats bobbing, the fingers jabbing, the paws strangely hovering. The information back and forth, back and forth. The screens.. The hats bobbing. A psych-op typography. Bobbing, tilting, whispering, clamouring, arguing, jabbing, denouncing, battling. Back and forth, titling and bobbing.