COLLEEN MULLINS

摘要

Colleen Mullins had a commanding sense of irony when titling her series The Floating World. Translated from the Japanese phrase ukiyo-e, it references an ethereal, idealized realm of mannered calm as depicted in 17th-century Japanese woodblock prints. What Mullins found ten years ago while taking six-star cruises with her widowed mother was less a scene of courtly elegance, than a hedonic geriatric carnival where the affluent (and others with the means to act as though they were) par-tied without limit.