James Quin is an artist and Lecturer in Fine Art (painting) at the Lancaster Institute for the Contemporary Arts – Lancaster University.
In his essay, Painting in the Expanded Field, Gustavo Fares introduces ‘no-movement’ and not ‘3-D’ as two characteristics that painting, ‘understood in a classical way’, lacks. Fares also develops, by way of conclusion, the ways in which an acknowledgement of the logical historical conditions of the medium (painting) results in “embodied” meanings. Quin’s practice-based research, since 2017, explores the ways in which the temporal conditions of painting – as static images – or ‘no movement’ images, to follow Fares, are challenged and tested within a three- dimensional material field of images drawn from the history of painting in ways that ask a straightforward question. In relation to what, are paintings static?
Quin’s labyrinthine installations of paintings explore the ways in which painting can operate in an expanded field wherein materiality (paint), movement (embodied looking), and moment (painting’s history) might be encountered simultaneously.
Quin’s painting s have been exhibited nationally and internationally, with his most recent installation of painting shown at Liverpool’s Walker Art Gallery.
https://www.liverpoolmuseums.org.uk/refractivepool
https://james-quin.blogspot.com/
https://theses.ncl.ac.uk/jspui/handle/10443/4692