HOUSE is about domestic exile. Exploring private moments of contemplation and the history of women’s issues and her relationship with the home. Inspired by the Phantom of the Opera, Angela Carter books, Julia Kristeva’s abject theory, and the art of Cindy Sherman and Cecelia Condit. House is an ongoing project.
Quinn examines the phenomenon of confessional social media posting and comparing it to
Marshall McLuhan's theory that a medium is a predecessor replaced by another medium. Having
her own 15 minutes of self-made trauma, the artist can’t help but conclude that the medium of dismally
accepting parasocial relationships fills the void/ replaces the medium of physically talking to
someone who actually cares.
Alluding to Yokio Mishima's protagonist Mizoguchi in the temple of the golden pavilion and
following the logic of Georges Bataille, in sacrificing the beauty of old memories inscribed on
the diary pages is necessary for the sacred futurity of new memories to be produced. By rejecting
the economic demand to tell her story, she can reclaim the fact that her past is her own business and
like Mizoguchi, Quinn wants to live.
The non-sequiturial approach of having a character house stand in as a self-portrait is a
continuing theme throughout her work. At times the houses are haunted by nightmarish
recollections and at others the houses come to terms with the necessity of being damaged in
order to qualify as a house with character.
In this adventure I come home to the pages of my
diary being burnt. It is the death of mystery in the digital age of oversharing. What did the diary pages say? Who cares, there's so much data anyways.
Quinn is a Calgary based mixed media artist, specializing in animation and sculpture. She is deeply inspired by the abject art movement, absurdism, and the various books she has read. Quinn's art practice explores interpersonal relationship, femininity and the economy.
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