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Ged Quinn - Bela Forgets the Scissors

Oil on linen, 2016. Courtesy the artist and Stephen Friedman Gallery.

Bela Forgets the Scissors

Oil on Linen, 2016

Courtesy the artist and Stephen Friedman Gallery

As Ged Quinn’s Bela Forgets the Scissors shows, the subject of ruins can quickly become a cliché, over-loaded with cultural references to the point of almost collapsing. Here, dozens of small images are overlaid on a reproduction of a large painting by Nicolas Poussin, which is dominated by classical architectural fragments. These are obscured by the series of collaged images, constructing a complex web of references that echoes the complexity of the broader subject of ruins itself.

Ged Quinn

Ged Quinn is celebrated for his densely layered paintings that transform art historical techniques into contemporary experience. He works in meticulous detail and executes with extraordinary technical skill. Under the artist’s hand, the pastoral landscape and the domestic still life are transformed from the familiar to the fantastic.

Multiple histories, narratives and mythological emblems collide. The interplay of elements drawn from Western cultural history, mythology, philosophy and the imagination create an engagement with the viewer that challenges and play with preconceived notions of beauty and art.

Recent notable solo exhibitions include Pearl Lam Gallery in Hong Kong (2017); Stephen Friedman Gallery, London, England (2014); New Art Gallery Walsall, West Midlands, UK (2013-2014); ‘Endless Renaissance,’ Bass Museum, Miami Beach, USA (2012-2013); ‘FOCUS,’ Modern Art Museum of Fort Worth, Texas, USA (2012); ‘Ged Quinn,’ Stephen Friedman Gallery, London, England (2010); ‘The Heavenly Machine,’ Spike Island, Bristol, UK (2005); and ‘Utopia Dystopia,’ Tate St. Ives, UK (2004).

Group exhibitions include; ‘Cake and Lemon Eaters: Viktor Pivovarov and Ged Quinn’, Galerie Rudolfinum, Czech Republic (2014); which toured to The Gallery of Fine Arts in Ostrava, Czech Republic (2014); ‘Somos Libres II’, Pinacoteca Giovanni e Marella Agnelli, Italy (2014); ‘Landscape 2000’, Osnabrück Cultural History Museum and Felix Nussbaum Haus, Germany (2013-14); ‘Looking at the View’, Tate Britain, London, England (2013); ‘The Future is Not What It Used To Be’, Newlyn Art Gallery, Penzance, UK (2013); ‘Beyond Reality: British Painting Today’, Galerie Rudolfinum, Prague, Czech Republic (2012); ‘Everywhere and nowhere’, Reydan Weiss Collection, Oberstdorf, Germany (2012); ‘The Witching Hour’, Water Hall, Birmingham Museum & Art Gallery, Leverkusen (2010); ‘Lust for Life & Dance of Death’, Kunsthalle Krems (2010); ‘Newspeak: British Art Now’, Saatchi Gallery, London (2010) touring to State Hermitage Museum, St. Petersberg (2009); ‘Made Up’, Liverpool Biennale, Tate Liverpool (2008); ‘Collezionami 2’, Biennale of Southern Italy, Bari, Puglia (2006); and ‘The Real Ideal’, Millennium Galleries, Sheffield (2005).

Quinn’s works are included in prominent collections internationally, including British Museum, London, England; the FLAG Art Foundation, New York, USA; The Honart Museum, Iran; Tel Aviv Art Museum, Israel; Modern Art Museum of Fort Worth, Texas, USA; Olbricht Collection, Essen; Tate Collection, London; Victoria & Albert Museum, London.