Ged Quinn at the Wilkinson Gallery
Ged Quinn makes paintings that revisit the tradition of European painting. His seductive canvases, which seem so recognisable, slowly reveal an extravagant mix of European art history and contemporary imagery. By superimposing contemporary references onto grand backdrops of European painting Quinn develops his own environments and mythologies.
In The Ghost of a Mountain a building is situated in a clearing at the intersection of forest paths. The image plays neatly with Heidegger's idea of the 'Clearing' as a location for 'the Happening of Truth'. For Heidegger, it could be said, art is not a tangible product; rather, the actuality of art is the clearing it produces, and its ability thereby to reveal truth. The building within in the clearing is, importantly, Berghof: Hitler's mountain retreat. Quinn resituates Berghof -- now daubed with graffiti -- from Berchtesgaden to Mount Purgatory, which swells up from the forest floor. The ambiguity of this retreat/sanctuary is further played with by its positioning within the forest, where the (irrational) memories of nature myths inform the (rational) twentieth-century products of Western culture (the apparently vandalised holiday home of a fascist leader), as well as by the particular symbols with which the retreat has been 'tagged'. On the walls of Berghof are the names of the four Zoas from Blake's unfinished poem (1797) of the same name: Urizon, Los, Luvah and Urthona. The four Zoas are the disparate and disordered faculties of the eternal Albion in his postlapsarian state, thus referencing the ambivalent meeting of myth and Christianity. Read the entire article hereSource: