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.

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