Two Heads Are Better - Fran Bull, C. 1990

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Two Heads Are Better*
Fran Bull, c. 1990

Two Heads Are Better by Fran Bull returns to one of the … Read more Two Heads Are Better*
Fran Bull, c. 1990

Two Heads Are Better by Fran Bull returns to one of the recurring motifs from her original ink series: the disembodied head. This motif appears elsewhere in works such as He Laughs at My Jokes and She Laughs at My Jokes, where Bull uses the head as a site of distortion, psychological pressure, and dark humor. In Two Heads Are Better, however, the motif shifts into a more intimate register. The work still carries the surreal unease of the series, but it also suggests closeness, dependence, and companionship.

Bull leans heavily into obscuration throughout the composition. The background is partially covered in dense black ink, creating a dark field that pushes the central figure forward while also trapping it within an ambiguous interior space. In the upper right portion of the image, a tilted square form appears darkened along its lower edge. This shape could be read as a pillow, with the main figure lying down and the second head propped beside them. In this context, the blackened background begins to read as a bed, or at least as a private nighttime setting.

This possible bed imagery is important because Bull would later explore the bed more directly in her Stations series. She described those sculptures as “allusions to love and longing, to night and dreams, to death, joy and the haunting presence of the mythic and transcendent in daily life.” While we cannot say with certainty that this earlier ink work is pointing toward the same ideas, Two Heads Are Better does seem to anticipate some of that emotional terrain. The image carries a sense of night, interiority, and psychological closeness, as though the figures are caught somewhere between dream, intimacy, and vulnerability.

The composition centers on two heads held near one another. One appears attached to or held by the larger figure, while the other rests close to the body, almost like an extension of thought, memory, or companionship. The second head is not simply an additional figure; it alters the emotional structure of the work. It turns the image away from isolation and toward relation. There is an intimacy here that is not often seen in other pieces from the series.

The title deepens this reading. Two Heads Are Better plays on the familiar phrase “two heads are better than one,” which usually suggests collaboration, shared thinking, or the advantage of collective intelligence. Bull’s version literalizes the phrase in a strange and unsettling way. The second head is not metaphorical; it is physically present. Yet rather than treating this as a simple joke, Bull allows the phrase to become emotionally charged. The work asks what it means to think, feel, or endure alongside another presence.

This gives the piece a quieter tenderness beneath its distortion. Many of Bull’s ink works are marked by paranoia, theatrical grotesquerie, or psychological discomfort. Here, those elements remain, but they are softened by proximity. The figures seem to need one another. The image suggests that even in a world of fragmentation and strange bodily rearrangement, connection remains possible. The pairing may be odd, but it is still a pairing.

Bull’s use of black ink reinforces the tension between intimacy and unease. The heavy dark areas create a feeling of enclosure, while the untouched white passages open the figure into vulnerability. The body appears partially formed, partially erased, and partially swallowed by its surroundings. The second head becomes a counterweight to that dissolution. It is a companion within the darkness, a second consciousness beside the first.

Two Heads Are Better acknowledges that the human condition requires more than distortion and humor alone. Bull’s grotesque language remains intact, but here it is used to address tenderness, dependence, and shared presence. The work speaks to our need for connection, companionship, and mutual recognition. In a growing age of isolation, this reading feels increasingly necessary. With the erosion of third spaces, the rise of digital substitutes for community, and the strange loneliness of contemporary life, connection becomes a precious and dwindling thing.

At the very least, the piece reminds us that two heads, however strange the pairing, are still better than one. What begins as a surreal visual joke becomes something more serious: a meditation on closeness, shared consciousness, and the comfort of not being alone.
-Jonathan Flike

*The title of this work was assigned by Visard Gallery.

About the Artist
Fran Bull is an American artist whose career moves restlessly across painting, drawing, printmaking, sculpture, performance, and installation. Originally associated with the Photorealist movement of the 1970s and 1980s, Bull gradually pushed beyond realism toward a more personal and psychologically charged visual language. Her work often exists between figuration and abstraction, using the body, myth, theatricality, and distortion as tools for exploring consciousness, memory, fear, beauty, and transformation.

Bull studied Music and Art at Bennington College and later earned a master’s degree in Art and Art Education from New York University. Her early Photorealist work was shown through Louis K. Meisel Gallery, placing her within one of the central gallery contexts for American Photorealism. Over time, however, Bull’s practice became increasingly experimental. Her ink drawings, prints, sculptural forms, and mixed-media works reveal an artist less interested in reproducing the visible world than in exposing the unstable forces beneath it.

This evolution is central to Bull’s importance. In her later work, faces fracture, bodies become theatrical vessels, and forms seem to emerge from dream, satire, ritual, and unconscious thought. Her imagery can be grotesque, humorous, spiritual, and deeply human all at once. Whether working in ink, etching, paint, or sculpture, Bull treats art as a means of passage between worlds: the seen and unseen, the ordinary and mythic, the personal and collective.

Bull has exhibited in the United States and Europe, with works connected to major phases of American Photorealism, expressionist abstraction, printmaking, and installation. For Visard, her work represents the power of artistic reinvention: a career not defined by a single style, but by an ongoing search for a freer, stranger, and more expansive visual truth.

Underrepresented Artist Information
Like many women artists of her generation, Fran Bull’s career reflects both achievement and uneven recognition within the larger art historical record. Although Bull was connected to significant artistic movements and exhibited widely across multiple decades, her work remains less visible than that of many male contemporaries who moved through similar circles of realism, abstraction, and experimental image-making.

This underrepresentation is especially important because Bull’s career resists easy categorization. She was not simply a Photorealist, nor solely an expressionist, printmaker, sculptor, or performance-based artist. Her practice evolved across mediums with intellectual restlessness and emotional force, making her body of work harder to flatten into a single market-friendly label. Visard recognizes Bull as an artist whose breadth, reinvention, and psychological depth deserve fuller documentation and continued attention. See less