©Carson Zullinger

Dancers,  the Delaware Contemporary. 2016

Two years ago while visiting the National Gallery of Art we came
upon the Degas painting “The Dancers”. I was fascinated by the
composition and the poses of the ballerinas. I started imagining how
I could re-interpret this work.

   In 2018 I had the pleasure of working with Anoush
Anou on developing a series of images to use for the installation.
We worked for a day, looking at the different permutations of poses.
I then began the process of deciding which group of images would
work as layers. I developed maquettes to help in the design
process. At some point, I realized that my original concept of light
figures against a black background would not work. I switched
everything to negatives. That is what is displayed. In 2019
I had Anoush Anou return to work on the video production.

   I am interested in how the piece changes as you move around the
installation. I was looking for an immersive experience for the

©Carson Zullinger

Nude Descending, Ascending, the Delaware Contemporary, 2019

My artwork derives from the exploration of the inner self, and its contrast with the physical world. I use dreams and the subconscious as a starting place to envision new imagery. I strive to create pieces that incorporate a sense of spirit or mind-body interrelationship, and at the same time tell a story.
In 1897 Edward Muybridge produced a time lapse set of images of a woman descending a staircase that was one of the inspirations for Marcel Duchamp’s painting in 1912, Nude Descending a Staircase, No. 2. In my work, I have been interested in using motion to describe the spiritual journey that we all are a part of. This work continues that exploration.

 Carson Zullinger has exhibited extensively for 40 years including the Delaware Art Museum, the Biggs Museum of American Art, and the Delaware Contemporary, and is represented in museum and private collections. In 2014 he was awarded a Masters Artist Fellowship from the State of Delaware.

©Carson Zullinger

Illuminated Harmonies, the Delaware Contemporary, 2022

These installation pieces include work from 2021-22 and one from 1979
©Carson Zullinger

Through the Looking Glass, the Delaware Contemporary, 2020

Carson Zullinger's work deals with exploring an alternate world filled with dreams, mystery, beauty, and stories of light and meditation.

He is interested in studying his dreams and the subconscious, and how to interpret them. Exploring our shared spiritual journey, and how to make sense in art-making has always been a primary motivator for his artistic practice. Zullinger has been drawn to photographing images of the human body to illustrate a story since the early 1970’s. Spending time at the Delaware Art Museum when he was very young and being immersed in the concept of storytelling through the art of Howard Pyle and the Pre-Raphaelites made a major impact in his artistic journey. He learned early on to be active in his dreams and to control the narrative. The human figure that he depicts is often a continuation of the stories that he has experienced in dreams. 

©Carson Zullinger

Cassowary Dream, the Delaware Contemporary, 2018

"Lying flat on my back late at night with not a stitch on staring up at the most marvellous starry night you've ever seen. Something like out of a Van Gogh painting but with animated shooting stars. Chattering teeth and goosebumps all over whilst the master of light painting got to work. This was the start of my experience with the great Carson Zullinger. One almost fall into the dark pool by Carson and a few more goosebumps later we finally finished for the night to rise for the earliest shoot of the week. I stayed over that night to make the 5am rise. Otherwise the drive for Carson to get to the model house and back would have started at 4am which is the middle of the night to most.

Waking at the Cassowary property was a sight for sore eyes in the sense it was so beautiful you had to pinch yourself that you were still alive. How the reflections fell across the crystal still pool were phenomenal and that's when I finally understood Carson's enthusiasm at finding a model to experiment with. A moment of true appreciation in being asked.

We took advantage of the light whilst we could with the great help of Patt before dashing to the beach before the first harsh light.

Pebble beach was a short drive away but worth every km of the drive, for the rock formations were majestic and unique in every twist and turn in sight. The air was still cold for me but once my bare skin was lain against the gently heating up rocks I felt like a reptile taking the morning's first sun.

Lying wedged between two rocks close to the road side oblivious to the passers by, my eyes caught sight of what looked remarkably like a pineapple tree to me. I jumped at excitement due to my great love for pineapples. My mobile phone cover is a pineapple and I eat about half a pineapple a day which makes me basically part of the pineapple family. In juice anyway. It turned out to not be a pineapple tree but something agreeably similar. One of my many fairytale illusions that week. We retired from the beach as soon as the sun showed its mighty potential to dehydrate even the giant human fruits that graced its presence. I swear in ten minutes your mouth was dry and your skin well on its way to finishing up like a prune.

Arriving back at the house, Carson and I then experimented with some slow movement images and a tropical flower. That one time I accidentally fell, showed to be the type of accident that you want to happen in art. I think that's why I love art so much. All my daily accidents can be turned into purposeful great masterpieces. So I fell in a similar style a few times more. I hope that Carson got what he needed from those photos and that one day that exact moment in history can be frozen in time forever at one of his wonderful galleries in some giant installation that will be admired by many in recognition for the great artist he is.

To date every experience I've had with Carson has been not only a pleasure but has finished up in some of his galleries and in his books. My mum took possession of my past books to keep them in safe keep because she was so proud of them. For a second she forgot herself and asked if she could show them to my grandmother before I gently reminded her that I was nude and that there was still no way to explain that. Even in the name of art I chuckle to myself."

Tara Liggett

©Carson Zullinger

State of the Union, State of Mind, Delaware Contemporary, 2017

This was a group exhibit of the Studio artists intended to respond to the sea change political experience we were in. I produced 2 pieces. The diptych in the foreground deals with internalizing a quiet personal moment of peace. The wall installation in the background is called Chaos, for obvious reasons.

©Carson Zullinger

Illuminated Harmonics, Delaware Contemporary 2022

These installation works are from 2021, and one from 1979. The first work is of Beatrice Ninja.  To produve this I photographed her on white, changed the image into a negative that I printed on clear acetate 8 feet high. I hung the negative and had Beatrice pose behind it.  The final installation has three layers. The second work is of Anoush Anou (2022). The third pedestal piece was my first multi layer piece designed and produced in 1979. The last work of Gazelle Powers took a few months to design and was finished in 2022.