Expressive, distorted and chaotic, Amy-Jean Muller’s ability to depict emotion and fury through her mark making not only creates frenetic line work, but a complex treatment of the canvas too. She explores the surface through gesture to build up the layers as a form of performance art in itself. Images are created using both mixed media and digital processes. 

Traditional formats begin their process with the collection of materials and objects that are incorporated into the canvas, while digital depictions are layered through shape and the peeling away of images to the bone. She draws references from mythology, religion, and culture, where the process of artmaking becomes a form of a catharsis or ritual in itself. Rejecting the photorealistic form for abstraction and expression, her work poses questions, confronts beliefs and yearns for the viewer’s discomfort.


The Anointing takes various references from religious iconography and repositions them to redefine the meaning of trust, betrayal, power and secrecy. Mary of Bethany and Mary Magdalene form part of anointing in two ways. The work depicts Mary of Bethany, (known as the ‘sinful woman’) with Mary Magdalene in a gruesome scene. Mary of Bethany is known for having washed Jesus’ feet with perfume and dried them with her hair. Jesus had noted the anointed feet had prepared him for his burial, which was a poignant premonition to the impended doom of his death. Mary Magdalene is known for bearing witness to the crucifixion, burial and resurrection of Jesus. She was first to witness the empty tomb on her way to anoint his body. The empty tomb would be proof of his resurrection, and proof of hope. The women’s faces are celestial and pure, they are calm and angelic with halos. This is in stark contrast to their ease in the brutality of plucking and grasping.