Ghiberti Doors

This event lead to the creation of Mulleian's 1970 prophetic painting entitled Forsaken Paradise, foretelling of a world to come that clearly emphasizes an ecological calamity. This six by four foot painting was Mulleian's first of it's kind, and it consequently opened the doors to many of the artist's other greatest works which followed through decades to come. Paintings such as The Calendar 2047, a 1971 piece, also like his painting Forsaken Paradise, depicts a planet in peril. His notable work Dies Irae and Prevailing Dawn both foretell nuclear catastrophe. Stone Effigy gives a glimpse into the future through a space/time continuum as both moments blend within a temporal paradigm, also warning us of were we are heading. And The Crypt, depicting a critical convergence, unfolding ancient, transformative information yet to be discovered beneath the sands of Egypt will mark the beginning of a New Age. Many of Mulleian’s most profound paintings seem to convey prophetic messages as warnings, as well as inform us of the transformative powers within ourselves.

This is elaborated upon in Paul Deegan’s "Analysis and Review of an Artist's Work", a comprehensive, greatly detailed examination of the layered nuances in Mulleian’s images. “Analysis and Review” is a study into the mystical dynamics of Mulleian’s paintings, and uncovers hidden metaphysical meanings through the artist’s use of symbolism. The essence of his work indicates that man has the option to change his destiny.

This photo of G. Mark Mulleian, at age 22, was taken in 1970, the same year that he
experienced an unusual incident relating to Grace Cathedral’s Ghiberti doors. In 1969, shortly
after returning from his military service in Vietnam a seer's insightful predictions pertaining to the artist's
future life revealed that he would deliver a great message to the world by millions. At the time, the seer knew nothing of Mulleian or the miraculous event that took place while under heavy bombardment in Vietnam. In a badly deteriorated bunker composed of rotting sandbags and thin, dry-rot timber planks, after crying out to his God, Mulleian and his companions survived a direct mortar hit, walking away without a scratch and leaving
behind at least 36 pieces of shrapnel on the bunker floor. Nor did the seer know of the vision that appeared
to the artist while lying in a bomb crater during Vietnams 1968 Tet Offensive. After returning to America
this vision would become Mulleians Dies Irae, the young painter’s most notable painting to date.