Summary<\/p>\n
Nathaniel Mary Quinn has opened his fifth solo exhibition, ECHOES FORM COPELAND at Gagosian
\nNow on view through October 25 and the gallery\u2019s West 24th Street outpost, Quinn\u2019s latest body for work explores ideas of self-realization, hope and transformation through the lens of Alice Walker\u2019s The Third Life of Grange Copeland (1970)<\/p>\n
In ECHOES FROM COPELAND, his fifth Gagosian<\/a> solo, acclaimed American artist Nathaniel Mary Quinn<\/a> alchemizes fear and loss into a new, biting body of work. Culling creative influence from the literary force of Alice Walker and figurative abstraction \u00e0 la Francis Bacon<\/a>, Quinn delivers ardent introspection through his portraits \u2014 sublimely fragmented and fractured, but nevertheless, whole.<\/p>\n Drawing on Walker\u2019s seminal debut, The Third Life of Grange Copeland (1970), the showcase channels ideas of trauma, transformation, hope and redemption into deeply expressive portraiture, near rupturing before our eyes. Blooms of oil paint, pastel and gouache serve as a fitting language for the psychological complex at hand: a crossroads between Quinn\u2019s embark on ambition and Bacon\u2019s anxious existentialism. Though each composite, mangled and fleshy, is graced by an iridescent sense of hope and emotional honesty above all.\n<\/p>\n The exhibition also marks a new, compositional direction for the artist. With brushes, palette knives and paper towels in-hand, this body work opens up new conceptual and physical terrain, positioning his characters in atmospheres thick with tension. From expanses of nature to liminal interiors and urban backdrops, Quinn brings the inside out, not only laying bare the context of his characters, but all that resides within.\n<\/p>\n