Ged Quinn

In Ged Quinn’s paintings, varying elements intrude into the work disguised as surfaces, such as an aerial view of Auschwitz appearing as a decoration in the glaze on a vase (Camp 2004), or a map of America visible in the fur of a dog (I like America and America Likes Me)…

Painting

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…

Evolving from a spectrum of sources in art history, photographs, memory, newspaper cuttings and books, Quinn’s canvases introduce new and universal topics…

Asleep by the Light of Glow-Worms