Turbulence

FLG is delighted to announce the release of Hannah Quinlivan’s monograph.

Hannah Quinlivan’s multi-disciplinary practice, incorporating installation, performance, printmaking, drawing, painting and sculpture, stems from a process of linkage, both literal and conceptual. Referencing previous gestures and forms while also reaching out to explore new territories, its evolving quality gives Quinlivan’s work an organic, living quality while creating an immersive experience for the viewer.

Hannah Quinlivan is a young artist who has found her own distinctive voice, one which unites the intimate and the personal with the public and universal. Her art is distinctive, intense and very memorable. Sasha Grishin, 2018 This 250pp full colour book, from 2011- 2018, provides an in-depth introduction to Hannah Quinlivan's extensive art practice. Limited edition of 150, full colour, printed on satin art paper and PUR bound. Each book to be signed and editioned by the artist. Available for pre-purchase at FLG for $50 plus GST or via this link.

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The spatial drawings of Hannah Quinlivan Essay by Sasha Grishin

A couple of decades ago, the physicist Richard Taylor revealed to an incredulous public that Jackson Pollock’s once controversial dribble paintings did not consist of arbitrary drips of paint, but closely echoed carefully rehearsed patterns of fractals, akin to those observed in nature.   In part, Taylor argued, that the lasting popularity of Pollock rested on the fact that viewers engaging with his work and discovering his “fractal fluency” confront something profoundly comforting and recognise similar patterns to those encountered in nature.  Although not universally accepted,  reading art in terms of its fractal structure suggests that art can be seen as not existing outside of nature and that there are laws that bind art and nature.  Patterns in art and in the natural order and how the artist’s subjective self relates to the broader environment are key concerns in the art of Hannah Quinlivan.  Inherent in her art practice is the desire to create a flexible and fluid artwork, one which will tap into a sense of natural order.  Continue reading full essay as PDF

Cross-currents, crossing borders. Lives flow like liquid, drifting on the wind, billowing, eddying and backtracking. What was smoothly sinuous is now turbulent in the tumult. In every wall a crack, a plume of hope in the dimness. Artist Statement, 2018

ARTIST BIO: Hannah Quinlivan’s multi-disciplinary practice, incorporating installation, performance, printmaking, drawing, painting and sculpture, stems from a process of linkage, both literal and conceptual. Referencing previous gestures and forms while also reaching out to explore new territories, this evolving quality gives Quinlivan’s work an organic, living quality while also creating an immersive experience for the viewer.

Through her various ways of exploring line and form – via drawing, painting, wire installation, LED drawing and in steel – Hannah challenges the way we expect drawing to be presented, and subsequently her work becomes experiential not only in physicality but also conceptually. Grappling with contemporary issues such as human migration and passages of travel, and more traditional explorations of landscape, remoteness and land masses, Hannah’s work has the power to inspire not only in how we respond to her pieces but also the way in which we should challenge ourselves.

Quinlivan is represented in number of collections including the National Gallery of Australia, The Australian High Commission (Singapore), ACT Legislative Assembly Art Collection, Canberra, Deakin University Art Collection, The Australian National University, KPMG Art Collection, Shire of East Pilbara West Australia, Philip Cox Collection, Ormond College Collection, and various private collections. She graduated from ANU School of Art (Honours) in 2013 Dux, with first class honours. She has exhibited in Britain, Berlin, Japan, Hong Kong, Singapore, the Philippines, Indonesia and the United States.