[7] In her different bodies of work, Mundt combines iconic references with others that are more personal and intimate in her quest to perpetually reconfigure the image—gesturing towards how our understanding is always in flux and therefore we can’t possibly be consistent in our seeing, in our psychic space.
Mundt’s dynamic, formally omnivorous practice freely taps a variety of input, ranging from art historical references to personal photographs.
Reworking and repurposing motifs from sources as diverse as Odilon Redon, illuminated manuscripts, medieval tapestries, Wade Guyton, and Matthias Grünewald, Mundt’s recent paintings eschew adhering to an individual style in favor of a poly-aesthetic approach.
The mood of these works—which are in turns contemplative, sensual, foreboding, and celestial—respond to the rage and rapture that pervade a cultural moment marked by climate change, the rise of religious extremism, and the curtailment of women’s rights.
In God Told Him to Wait, Mundt' solo exhibition at Société Berlin in 2023, she oscillates between figuration and abstraction, between the bodies of women and those of animals, between religious iconography and the language of the glitch—a tendency that Bettina Funcke describes as defocalizing: letting things in, trying out different perspectives, aesthetics, and approaches, which allows her works to “flicker with flexibility and vulnerability.”[8] Painting, or more precisely looking at painting has the capacity to create new worlds.