•  Installation Shots From: Pangaea: New Art From Africa And Latin America
    Pangaea: New Art From Africa And Latin America
  •  Installation Shots From: Pangaea: New Art From Africa And Latin America
    Pangaea: New Art From Africa And Latin America
  •  Installation Shots From: Pangaea: New Art From Africa And Latin America
    Pangaea: New Art From Africa And Latin America
  •  Installation Shots From: Pangaea: New Art From Africa And Latin America
    Pangaea: New Art From Africa And Latin America
  •  Installation Shots From: Pangaea: New Art From Africa And Latin America
    Pangaea: New Art From Africa And Latin America
Saatchi Art
Saatchi Store
Current Exhibition

Ged Quinn EXHIBITED AT THE SAATCHI GALLERY

Cake In The Wilderness
Ged Quinn
Cake In The Wilderness

2005

Oil on linen

36 x 46 cm
A cherry cake, beautifully painted in the demure style of a 17th-century Dutch still life, sits atop a glass dish. The shape into which it has been cut, a sort of mock-medieval cross, is that of Spandau prison, the infamous Berlin detention centre and symbol of uneasy Cold War accord to which a handful of high-ranking Nazi officers were banished following their conviction at the Nuremberg Trials. Demolished in 1987 following the death of its last inmate Rudolf Hess, its physical remains were ground to powder and dispersed into the North Sea. At a stroke, Quinn transforms this complex and uniquely sinister structure into a mass-produced teatime treat, impermanent and consumable.
God Knows Where This Is
Ged Quinn
God Knows Where This Is

2004

Oil on canvas

183 x 225 cm
Based on a image by pioneering 19th century landscape photographer Carleton Watkins, God Knows Where This Is lays bare the contradictions inherent in America’s idealist appropriation of sacred Native American hunting grounds to create its iconic national parks. Quinn employs the original photograph’s tonal qualities of light and dark to reproduce a vast canyon of ’wilderness’ stretching further than the eye can see. The harmony is shattered by an incongruous framed portrait, hanging from a single, lonesome pine; ’wearing’ the antlers of St. Hubert, the American poet and libertine Walt Whitman is portrayed in the moment of his fictional suicide, blowing his mind out with another symbol of American freedom, the Colt 45 handgun. This land of freedom and innocence, Quinn implies with no little vehement, is no more than a constructed illusion of false escape.
The Ghost Of A Mountain
Ged Quinn
The Ghost Of A Mountain

2005

Oil on linen

267 x 183 cm
Dwarfed by a bank of towering trees, in a scene reminiscent of the Northern European Romantic tradition, a tiny building stands in a wooded clearing. It is the Berghof, Hitler’s mountain retreat, transplanted from Berchtesgaden to Mount Purgatory, which rises up from the forest floor. The house has been daubed with graffiti, ’tagged’ with the words Urizon, Los, Luvah and Urthona, the four Zoas from William Blake’s unfinished 1797 poem of the same name. Quinn’s choice of this oblique reference to the ambiguous association of myth and Christianity, and the otherworldly, fairy-tale setting he has fashioned for a sickening reminder of an all-too-real real person, is intended to ask the question: what happens when myth replaces history?
True Peace Will Prevail Under The Rule
Ged Quinn
True Peace Will Prevail Under The Rule

2004

Oil on linen

183 x 250
True Peace Will Prevail under the Rule is a contemporary reworking of Claude Lorrain’s 1666 Old Testament depiction of Jacob, Rachel and Leah at the Well. In the well, bathed in heavenly morning sun, Quinn has placed a serene image of Mount Carmel, home to a dissident religious community assaulted and eventually destroyed by the FBI in the Texan town of Waco in 1993. He plays with the idea of adopted identity, replacing Jacob, renamed Israel by God in The Book of Genesis, with David Koresh, the community’s leader formerly known as Vernon Howells, who took his constructed identity from the names of a Persian king and the Lamb of God. Suspended above the town hangs the image of a pre- Copernican universe, thought to have been centred around the earth, a motionless centre of concentric rotating spheres.
The Fall

The Fall

Ged Quinn
The Fall

2006

Oil on linen

183 x 250 cm
With its skewed timeline and patchwork Arcadian setting, The Fall sees Quinn continue his rummage through history, myth and popular culture. Trailing smoke and swathed in combat-plane camouflage, the downed body of poet and dramatist Antonin Arnaud hurtles from the sky in a reprise of the proud angel Lucifer’s fall from grace in Milton’s Paradise Lost. He tumbles in a scene borrowed from Claude Lorrain’s Landscape with Abraham Expelling Hagar of 1668, and towards the burnt-out shell of a ramshackle building. It is Thomas Edison’s Black Maria, the world’s first purpose-built movie production studio, littered with the drawings and spells created by Arnaud in the last, anguished years of his life. Any true sense of time or place is discarded as one iconic image crashes into another to leave a chaos of chronology and open-ended associations.
Dreams Of Peace And Love Gradually Giving Way

Dreams Of Peace And Love Gradually Giving Way (Detail)

Ged Quinn
Dreams Of Peace And Love Gradually Giving Way

2006

Oil on linen

183 x 235 cm
Again based on a work by Claude, this time Landscape with the Arrival of Aeneas at Pallanteum from Anglesey Abbey, Quinn’s constructed composition questions the role of art as a vehicle for social improvement. Part of Aeneas’ ship has been recycled into a miniature cinema, complete with beaming projector, rows of red velvet seats and a scene from Tex Avery’s MGM classic Little Tinker. Bound into a raft and drifting listlessly in the nearby river, another part of the vessel that carried the Trojan hero on his journey through the Underworld bears a similarly precious cargo – the Discovery, that pioneering craft from Stanley Kubrick’s 1968 cult science fiction movie 2001: A Space Odyssey. Quinn leaves us contemplating another maze of complex references, some recognizable and some more obscure, which challenge conventional systems of pictorial decoding.
Dad With Tits
Ged Quinn
Dad With Tits

2007

Oil on canvas

60.5 x 48 cm
Using Gilbert Stuart and Rembrandt Peale’s iconic portrait of George Washington as a starting point, Quinn’s painting of the first American president takes a humorous turn towards the Freudian. Dad With Tits was amongst the first of a series of work dealing with portraiture and authority figures. Playing a semiotic game with the notion of ‘founding father’, Quinn conceives his portrait as something of an oedipal autopsy: a naked decaying corpse boasting a mumsy set of mams. Through the window a volcano, reminiscent of heroic landscapes by Frederic Edwin Church, explodes with both revolutionary and sexual innuendo. The bird perched on Dad’s shoulder is a device commonly used in early Christian art to represent the departing soul of the recently deceased.






Other artists in
NEWSPEAK: BRITISH ART NOW

Caroline Achaintre    Tasha Amini    Hurvin Anderson    Maurizio Anzeri    Jonathan Baldock    Anna Barriball    Steve Bishop    Karla Black    Lynette Yiadom Boakye    Pablo Bronstein    Alan Brooks    Peter Linde Busk    Carla Busuttil    Nicholas Byrne    Gareth Cadwallader    Juliana Cerqueira Leite    Spartacus Chetwynd    Steven Claydon    Clarisse d'Arcimoles    William Daniels    Matthew Darbyshire    Graham Durward    Tim Ellis    Tom Ellis    Richard Evans    Tessa Farmer    Marcus Foster    Robert Fry    Ximena Garrido-Lecca    Jaime Gili    Nick Goss    Luke Gottelier    Kate Groobey    Anthea Hamilton    Anne Hardy    Gabriel Hartley    Nicholas Hatfull    Iain Hetherington    Alexander Hoda    Sigrid Holmwood    Systems House    James Howard    Graham Hudson    Dean Hughes    Des Hughes    Mustafa Hulusi    Paul Johnson    Edward Kay    Idris Khan    Scott King    Ansel Krut     littlewhitehead    Alastair MacKinven    Goshka Macuga    Ryan Mosley    Rupert Norfolk    Arif Ozakca    Mark Pearson    Dan Perfect    Peter Peri    Olivia Plender    Henrijs Preiss    Ged Quinn    Clunie Reid    Barry Reigate    Luke Rudolf    Maaike Schoorel    Daniel Silver    David Brian Smith    Renee So    Fergal Stapleton    Clare Stephenson    Caragh Thuring    Phoebe Unwin    Donald Urquhart    Jonathan Wateridge    John Wynne    Toby Ziegler

Ged Quinn's BIOGRAPHY

Ged Quinn
1963
Born in Liverpool, England


SOLO EXHIBITIONS


2010
Wilkinson Gallery, London

2007
My Great Unhappiness Gives me a Right to your Benevolence, Wilkinson Gallery, London

2005
Wilkinson Gallery, London
The Heavenly Machine, Spike Island, Bristol

2004
Utopia Dystopia, Tate St Ives

1999
New Paintings, Marlene Eleini, London

1994
Oxide Cinema video media installation, Rijksakademie Amsterdam


GROUP EXHIBITIONS


2009
Newspeak: British Art Now, State hermitage Museum, St Petersburg*
Kunskog, Five Hundred Dollars, London
Kings, Gods and Mortals, Hamish Morrison Galerie, Berlin

2008
John Moores 25, Walker Art Gallery, Liverpool, UK
Liverpool Biennale 2008, ‘Made Up’, Tate Liverpool
Jekyll Island, curated by Erik Parker and Max Henry, Honor Fraser, Los Angeles
DoktorsTraum, Olbricht Collection – New Aspects. Neues Museum Weserburg Bremen
Monochrome: Drawing & Prints, Rabley Drawing Centre, Wiltshire

2007
Stranger than Paradise, curated by Max Henry, Galerie Charlotte Moser, Genève
Rockers Island, Olbricht Collection, Museum Folkwang, Essen
Salon Nouveau, curated by Jasper Sharp, Engelholm Engelhorn Gallery, Vienna

2006
Collezionami, 2nd Biennale of Southern Italy. Curated by Grazia de Palma. Bari, Puglia, Italy

2005
The Real Ideal, With Damien Hirst Gregory Crewdson Pippolotti Rist, Millenium Galleries, Sheffield
Wonderings…, with Peter Macdonald, Judith Goddard & Sean Dower, Waugh&Thistleton. London
ShowCASe, City Art Gallery, Edinburgh
MOSTYN 2005, Oriel Mostyn, LLandudno

2000
Brooks Quinn Voss, Newlyn Art Gallery

1999
Show, Elizabeth Dee Gallery, New York
IWPC, Museum of Recent History, Ljubliania, Slovenia

1997
Performance, Video Installation with Oliver Herring, Camden Arts Centre

1995
Language of the Wall, Museum of Contemporary Art, Ljubliania, Slovenia