"The glass work of Kathleen Mulcahy bursts forth in luminous forms... Mulcahy expresses ambivalence with a shape reminiscent of the body's central core, in which both life-giving breath and shivering anxiety originate... Mulcahy's latest pieces, with their anthropomorphic qualities (especially when seen as a group) do not stray far from the core of her work, which is the study of human form in its concrete and ephemeral aspects. Just as theory has examined the body as a biological entity, a psychosexual construction, a legal and political football, and a linguistic construct, Mulcahy's work activates a perspective that is a once representative of the physical female body, her invisible, internal forces and emotions and external, spcietal influences. Emphasizing the multiple rather that the singular, Mulcahy represents woman in all her complexity in a new language."
—Vicky A. Clark
"World class glass that carries 'craft' into sculpture's high ground. Even as these forms and colors delight the eye with a dazzling grace, their idea quotient is so strong that their creator makes, I think all artists look better... She is equally strong in execution, possessed of an incomparable pair of hands, or in this case hands and lungs. She doesn't merely design, she makes. She doesn't sketch out concepts for some studio to fabricate; she does time at the furnace daily. As a glass blower, she literally breaths life into her work. Marvelous."
"Kathleen Mulcahy's series of glass bell jars are a more obvious statement on attitudes, in this case, regarding feminism. Tongue in cheek, yet deadly serious, the jars align expectation with suppression, amidst money, baubles, traditional girls' toys and broken glass. Representing the feminine value in all are the patent leather, beribboned or bowed shoes little girls love."