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Nathaniel Mary Quinn
September 11, 2019 - October 19, 2019
On view will be a number of Quinn’s “enhanced performance” drawings: 12-by-9-inch charcoal-on-paper works created simultaneously with both hands and “enhanced” with colorful swipes and swaths of gouache and soft pastels. For the ambidextrous Quinn, the technique behind these works is a full-body performance in itself that expands upon his already spontaneous act of rendering visions—yet the end result is surprisingly representational. Depicting complete faces rather than patchwork body parts, these haunting portraits slip in and out of focus through a murky haze of black charcoal.
Hollow and Cut will also feature new paintings, including Quinn’s second ever horizontal diptych, Jekyll and Hyde (2019), in which he dramatizes the process of visual fragmentation and reassembly by painting each half of the subject’s head separately before joining the two canvases. The strips of bare linen around the edges of each painting also emphasize this three-dimensionality and physicality. Using further perspectival sleight of hand, Quinn then paints the newly constricted edges of the work in a darker, shadowlike gradient, as if framing his portraits through an inset window. Confined within the world of the canvas, his swirling, distorted faces gaze out at us with raw emotion, baring their psychic vulnerabilities.