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拍品专文
Meticulously executed with an extraordinary control of the brush, Ged Quinn's 2005-2006 work Dreams of Peace and Love Gradually Giving Way provides a contemporary reworking of Claude Lorrain's 1675 depiction of Landscape with the Arrival of Aeneas at Pallanteum from Anglesey Abbey. Set within a harmonious landscape, the scene is an exquisitely rendered work which subverts the traditional romantic notions of landscape painting. Quinn offers a contemporary twist on the historical themes of the 17th century, projecting a modern narrative onto the ancient scene which creates an uncannily dystopic panorama, producing a dreamlike scenario reflecting on reality. A section of Aeneas' ship has been recycled into a miniature cinema, complete with projector and rows of red seats, whilst bound into a raft and drifting in the nearby river another part of the vessel carries the Discovery, the craft from Stanley Kubrick's 1968 cult movie 2001: A Space Odyssey. In characteristic form, Quinn leaves us contemplating a maze of complex references, which collide and sit awkwardly with each other, yet through the strange familiarity of their sources edge towards a resolution of a kind. Quinn explained 'what I do is add pieces. Truncated stories, half stories, unfinished sentences that hand in the air. Something that might have happened that you're unaware of here' (G. Quinn, quoted in http:/ www.artslant.com/ny/artists/rackroom/39544 [22/08/2012]).
Throughout the history of art landscape has offered an imaginative space into which artists could project their thoughts and dreams. Quinn has used it for exactly this purpose, layering historic and contemporary cultural references which develop his uniquely personal and universal mythologies. Using an approach that combines multiple possibilities, and drawing out of a four hundred year time span, works like Landscape with the Arrival of Aeneas at Pallanteum from Anglesey Abbey have a great scope for invention. Quinn's virtuosic brushwork means that it is easy to recognize the various elements in the scene, yet his use of colour gradation to render space means that nothing is crisply delineated. The modulations of greens, browns and blues depict somewhere that is as much an experiential atmosphere as it is an environment to be explored. In doing this, Quinn offers viewers a tantalizing promise of familiarity, only to subvert their expectations with the incongruities and disturbing details of the scene. The result is an uneasy, powerful vision that lingers like an unfinished dream, balancing on the very edge of reality.
Throughout the history of art landscape has offered an imaginative space into which artists could project their thoughts and dreams. Quinn has used it for exactly this purpose, layering historic and contemporary cultural references which develop his uniquely personal and universal mythologies. Using an approach that combines multiple possibilities, and drawing out of a four hundred year time span, works like Landscape with the Arrival of Aeneas at Pallanteum from Anglesey Abbey have a great scope for invention. Quinn's virtuosic brushwork means that it is easy to recognize the various elements in the scene, yet his use of colour gradation to render space means that nothing is crisply delineated. The modulations of greens, browns and blues depict somewhere that is as much an experiential atmosphere as it is an environment to be explored. In doing this, Quinn offers viewers a tantalizing promise of familiarity, only to subvert their expectations with the incongruities and disturbing details of the scene. The result is an uneasy, powerful vision that lingers like an unfinished dream, balancing on the very edge of reality.