The central theme of his art is the human being and life itself. The idea of living freely, lightheartedly, and self-determined is the message he seeks to convey.
Playful, sometimes weightless, slightly grotesque human figures appear in a comic-like style. Vibrant, pure colors suggest joy—but only at first glance.
These thin, elongated figures act as mirrors held up by the artist. They reflect distorted images of ourselves, of society, and of the way we live today. Our existence may seem without purpose or imagination; we may be seduced by false ideologies or no longer know how to live freely.
As we delve deeper into his work, another layer emerges—revealing a reality that is strange, melancholic, and yet comical.
As the artist himself says: “It is important to me to critique our time and its themes. The best way to criticize is by laughing at them.”
Scenes from everyday life appear throughout his work: people on the street, in the subway, or moments reminiscent of television programs.
What, then, does Mühlbauer’s art represent?
A woman walks a hovering shark on a leash. The shark is restless, and she struggles to control it. Is this a call for us to embrace more imagination in our lives?
Then there is the cheeky “Lili,” reminiscent of Pippi Longstocking. The blonde girl in a pink dress sticks out her tongue and raises her middle finger—standing boldly in front of an elementary school in Stegersbach. The sculpture, titled “Lili on Holiday,” is undeniably provocative. Is her behavior offensive, or is it acceptable? She is a child, and the artist believes that children have the right to be cheeky. Childhood may be the only time in life when we are truly free—before the process of dehumanization begins. The town’s residents are divided in their opinions, ranging from “inappropriate” to “amusing,” with “amusing” narrowly prevailing. Most importantly, however, children love it.
Many of his works explore themes of love and intimacy. Once again, with a playful glint in his eye, he satirizes human behavior. The “uptight,” withdrawn, and shy qualities expressed through the posture and body language of his sculptures are both recognizable and amusing. Through subtle provocation, he seeks to challenge these traits—he irritates, shocks, and at times vulgarizes.
The exposed, naked bodies, posed awkwardly and turned inward, evoke a sense of empathy. A kissing couple, literally merging into one another, becomes a small hymn to love and eroticism.
Mühlbauer’s world consists of both small (10–35 cm) and large (up to 5 meters) bronze sculptures, each hand-painted with vivid metallic colors.
Some of his works interact with nature, while others engage with the studio environment.
His creative process is distinctive. For his models—used to produce molds for casting—he combines a variety of materials: wood, iron, wax, and plastic. He also incorporates objets trouvés, everyday ready-made objects. The shark on the leash, for instance, was originally a toy, now transformed into an artistic and thought-provoking element.
“Why recreate something that already exists?” the artist asks. Rather than copying reality—which Dadaists and Surrealists rejected—his goal is to create a new one, a core principle of modernism. Elevating ordinary objects into the realm of art has a long tradition, dating back to Marcel Duchamp’s Bicycle Wheel (1913).
Ultimately, the artist plays with perception. His use of materials deceives the viewer: the vividly colored surfaces appear light, almost weightless. Only when one attempts to lift the sculpture does its true nature reveal itself—it is solid bronze.
In addition to human figures, he creates numerous sculptural representations of animals—such as fish and snails—celebrating life in all its forms.
“My understanding of art is life itself—and to live it self-determined. When that happens, it is art.”
— Paul Mühlbauer
