Often drawn to the hidden, overshadowed and undefined Quinlan’s practice draws on interests concerning visibility. Recent preoccupations centre on the lineage of ideas we inherit, while considering what we perceive, on account of where we have been, and who we turn to in an effort to enrich our perspectives. Architect and designer Eileen Gray, cave explorer Max Kaemper and Joseph Conrad’s, Heart of Darkness are three ports of call frequented in Quinlan’s practice. Living and haunted by these subjects, Quinlan takes the lead, drawing on points of connection to give rise to a tale, which harbours brave acts, that seize time and fill it with responsibility. Quinlan is interested in situations concerning decision-making particularly those that propel creative processes. Our choices set us apart, yet we are compelled to draw connections in an attempt to link ourselves to one another.
The inexhaustible configurations and outcomes presented by the tangram struck Quinlan as an appropriate means of introducing images. Used together with stop motion, this system articulates a state of becoming, whereby images are constantly transforming, slipping past themselves, interacting, evoking and carrying resonances of other images and events. Rather fittingly, this structure allows the work to develop in tandem with her findings, accomodating the addition of material uncovered on route.
Recent exhibitions include AutoItalia, London, St Paul St Gallery, Auckland, Care Of Gallery, Milan and the Douglas Hyde Gallery, Dublin. Recent awards include a residency at Centre Culturel Irlandais, Paris and Picture This, Bristol. In 2007 she was selected for the Fondazione Ratti Programme led by Yona Friedman and in 2006 was awarded the AIB Prize. Quinlan is in the collection of the Irish Museum of Modern Art and the Arts Council of Ireland. She is currently studying at the Piet Zwart Institute, Rotterdam.