JESS QUINN - STUDIO SALE
JESS QUINN - STUDIO SALE
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Distant Dreams
2019, oil on canvas, 46 x 60.5cm / 49 x 64cm framed
WAS £995 - NOW £770
Grandma's Coming To Tea (diptych)
2021, oil on canvas, 76 x 122cm unframed
WAS £2,200 - NOW £1,650
The Artist As A Middle Aged Woman
2020, oil on canvas, 60 x 51cm unframed
WAS £990 - NOW £770
The Artist In Her Landscape (After Rousseau)
2021, oil on canvas, 91 x 61cm /
93.5 x 63cm framed
SOLD
The Girl With The Paintbrush
2021, oil on canvas, 50 x 40cm unframed
WAS £990 - NOW £770
Sisters are doing it for themselves
2019, acrylic on canvas, 76 x 76cm / 79 x 79cm framed
WAS £1,200 - NOW £880
Late Afternoon On A Mountain Top
2019, acrylic on canvas, 25.5 x 25cm /
29.5 x 29.5cm framed
WAS £550 - NOW £385
Pink Sky
2019, acrylic on canvas, 15 x 20cm /
19 x 4cm framed
WAS £440 - NOW £330
Mountain Bloom
2019, acrylic on canvas, 30 x 25cm /
33.5 x 29cm framed
WAS £550 - NOW £385
The Retired Milkmaid
2022, oil on canvas, 40 x 30cm /
44 x 34cm framed
WAS £660 - NOW £500
Interior
2017, acrylic on canvas, 41 x 51cm unframed
WAS £770 - NOW £605
Barefoot in the Park
2016, acrylic on canvas, 46 x 61cm / 49 x 64.5cm framed
WAS £770 - NOW £605
Blue Girl
2017, acrylic on canvas, 61 x 46cm unframed
WAS £770 - NOW £550
Watermelon
2017, acrylic on canvas, 60.5 x 60.5cm unframed
WAS £770 - NOW £605
Dive into Jess Quinn’s surreal, colour-filled world. Jess’s unique vision is vivid and unsettling - through her work she explores female archetypes and the experience of the female artist whilst facing her own demons.
Dive into Jess Quinn’s surreal, colour-filled world. Jess’s unique vision is vivid and unsettling - through her work she explores female archetypes and the experience of the female artist whilst facing her own demons.
Her paintings reflect her personal struggle to survive and create in a restrictive and oppressive domestic space - the struggle to find her voice and independence, the struggle to reconcile child rearing with making art.
Her paintings reflect her personal struggle to survive and create in a restrictive and oppressive domestic space - the struggle to find her voice and independence, the struggle to reconcile child rearing with making art.
She skilfully weaves together memories and real events with fictional characters and places borrowing from fairy tales, folklore and history of art. It is a thrilling and potent mix and we cannot wait to share her enigmatic, compelling paintings with you.
She skilfully weaves together memories and real events with fictional characters and places borrowing from fairy tales, folklore and history of art. It is a thrilling and potent mix and we cannot wait to share her enigmatic, compelling paintings with you.
‘I am not afraid to use colour and pattern and often employ an abundance of both. We tend to associate colour with a childlike lack of sophistication especially in Western culture where we are encouraged to employ restraint in order to show maturity and sophistication. I have no interest in a muted world.’ - Jess Quinn
‘I am not afraid to use colour and pattern and often employ an abundance of both. We tend to associate colour with a childlike lack of sophistication especially in Western culture where we are encouraged to employ restraint in order to show maturity and sophistication. I have no interest in a muted world.’ - Jess Quinn
‘Jess is a figurative artist of both narrative and surrealist disposition. That narrative however is hardly explicit, often casual, almost throw-away in its sly references and darkly fanciful associations. It draws freely upon myth, legend and fairy tale, and upon art history too, or seems to do so, for the hint is there, but left to us to pick up: so too those odd, scarcely noticed particular details – of socks, shoes, hats, collars and cuffs, rings and ribbons, a crab, a cat. There is to it all a quietly unsettling, febrile, almost angry intensity of mood and feeling quite its own’ - William Packer, Artist & Art Critic - Quote from catalogue introduction.
‘Jess is a figurative artist of both narrative and surrealist disposition. That narrative however is hardly explicit, often casual, almost throw-away in its sly references and darkly fanciful associations. It draws freely upon myth, legend and fairy tale, and upon art history too, or seems to do so, for the hint is there, but left to us to pick up: so too those odd, scarcely noticed particular details – of socks, shoes, hats, collars and cuffs, rings and ribbons, a crab, a cat. There is to it all a quietly unsettling, febrile, almost angry intensity of mood and feeling quite its own’ - William Packer, Artist & Art Critic - Quote from catalogue introduction.
Jess Quinn was born in Bristol in 1968 to a British father and American mother. Childhood summers were split between the beautiful hills of Snowdonia and the vast flat farmlands of Indiana. She trained at Glasgow School of Art, 1993-96, gaining a first class degree and the prize for best degree show. Family and children followed. Jess went on to train as an art teacher and returned to painting with renewed vigour in 2016. She lives and works outside Cardiff.
Jess Quinn was born in Bristol in 1968 to a British father and American mother. Childhood summers were split between the beautiful hills of Snowdonia and the vast flat farmlands of Indiana. She trained at Glasgow School of Art, 1993-96, gaining a first class degree and the prize for best degree show. Family and children followed. Jess went on to train as an art teacher and returned to painting with renewed vigour in 2016. She lives and works outside Cardiff.
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