Eileen Quinlan
21 Mar - 11 Apr 2015
EILEEN QUINLAN
Double Charlie
21 March - 11 April 2015
Campoli Presti is pleased to announce Eileen Quinlan's sixth solo exhibition with the gallery, which will run concurrently in London and in Paris.
Quinlan takes the exhibition as a critical stance, in which different aspects of her work over the past ten years are unfolded and re-read. The inventorying and editing of the images opens up a field of mediations between the original prints and their final display, allowing Quinlan to address questions of seriality, abstraction and indexicality. Repetition and size are at play in the form of single images, diptychs or full editions, explicitly reiterating the artist’s own steps. Instead of proposing a linear reinterpretation of her work, Quinlan posits a circular temporality; revisiting, reusing and putting images from different times in contact, making them contemporaneous.
The exhibition introduces different photographic genres such as still-life, portrait, and landscape which expand the implications of abstraction. Quinlan’s abstract compositions are based on multiple staging strategies from commercial photography. Based entirely in the studio, Quinlan produces still-lifes using pre-digital photography techniques used to create backdrops —such as strobes, smoke, mirrors and textiles—generating abstract images of light, colour, and texture. Usually defined by its absence, in Quinlan’s Bormo for Beca the product appears exceptionally as a part of a commission by Lucy McKenzie and Beca Lipscombe for Atelier E.B.
In Quinlan's nudes, photography is used as a field for performance. The female body is first shot with a digital camera and later re-photographed with a 4 x 5 large format camera. Its shape is distorted by the effect of vapour, water, and glass, as well as by the multiple physical interventions that degrade the surface of the negatives. The body is subject to a continuous process of abstraction that involves digital as well as analogue procedures.
The gallery is activated as a quasi-theatre and charged with a presence that disrupts the exhibition space and reflects on the viewer’s performance of interest while experiencing art. While observing herself, the viewer is invited to share the subjecthood of the artworks.
Eileen Quinlan's work is included in public collections such as MoMA, New York; the Whitney Museum of American Art, New York; Los Angeles County Museum of Art; The Museum of Contemporary Art, Los Angeles; The Metropolitan Museum of Art, New York; and FRAC (Fonds Regional d’Art Contemporain), France. Her work formed part of New Photography 2013, curated by Roxana Marcoci at MoMA, New York. Quinlan had a two-person exhibition at The Kitchen, New York in 2012 and a solo exhibition at the ICA in Boston in 2009. Past group exhibitions include Rites of Spring at the Contemporary Arts Museum, Houston, Texas (2014), What is a photograph at the International Center of Photography, New York (2014) and All of This and Nothing at Hammer Museum, Los Angeles (2011).
Double Charlie
21 March - 11 April 2015
Campoli Presti is pleased to announce Eileen Quinlan's sixth solo exhibition with the gallery, which will run concurrently in London and in Paris.
Quinlan takes the exhibition as a critical stance, in which different aspects of her work over the past ten years are unfolded and re-read. The inventorying and editing of the images opens up a field of mediations between the original prints and their final display, allowing Quinlan to address questions of seriality, abstraction and indexicality. Repetition and size are at play in the form of single images, diptychs or full editions, explicitly reiterating the artist’s own steps. Instead of proposing a linear reinterpretation of her work, Quinlan posits a circular temporality; revisiting, reusing and putting images from different times in contact, making them contemporaneous.
The exhibition introduces different photographic genres such as still-life, portrait, and landscape which expand the implications of abstraction. Quinlan’s abstract compositions are based on multiple staging strategies from commercial photography. Based entirely in the studio, Quinlan produces still-lifes using pre-digital photography techniques used to create backdrops —such as strobes, smoke, mirrors and textiles—generating abstract images of light, colour, and texture. Usually defined by its absence, in Quinlan’s Bormo for Beca the product appears exceptionally as a part of a commission by Lucy McKenzie and Beca Lipscombe for Atelier E.B.
In Quinlan's nudes, photography is used as a field for performance. The female body is first shot with a digital camera and later re-photographed with a 4 x 5 large format camera. Its shape is distorted by the effect of vapour, water, and glass, as well as by the multiple physical interventions that degrade the surface of the negatives. The body is subject to a continuous process of abstraction that involves digital as well as analogue procedures.
The gallery is activated as a quasi-theatre and charged with a presence that disrupts the exhibition space and reflects on the viewer’s performance of interest while experiencing art. While observing herself, the viewer is invited to share the subjecthood of the artworks.
Eileen Quinlan's work is included in public collections such as MoMA, New York; the Whitney Museum of American Art, New York; Los Angeles County Museum of Art; The Museum of Contemporary Art, Los Angeles; The Metropolitan Museum of Art, New York; and FRAC (Fonds Regional d’Art Contemporain), France. Her work formed part of New Photography 2013, curated by Roxana Marcoci at MoMA, New York. Quinlan had a two-person exhibition at The Kitchen, New York in 2012 and a solo exhibition at the ICA in Boston in 2009. Past group exhibitions include Rites of Spring at the Contemporary Arts Museum, Houston, Texas (2014), What is a photograph at the International Center of Photography, New York (2014) and All of This and Nothing at Hammer Museum, Los Angeles (2011).