Hannah quinlivan impulses, restraints, tones

Hannah Quinlivan

impulses, restraints, tones March 1, 2018 - April 20, 2018

Published by JanKossen Ltd www.jankossen.com 10th edition ŠMarch 2018 All rights served Printed in USA

Best known for her work within the movement of experimental drawing, Quinlivan expands upon the medium to create drawings that employ wire, steel, salt, yarn, shadow, and LED light, constantly evolving and dissecting the elements of a drawing to investigate the confines of the line itself. Twisted wire structures are the basis for her shadow drawings, which Quinlivan later develops further into sculptures; 2D drawings turn into 3D drawings, that are then turned back into 2D drawings. W ith a deep commitment to the exploration of and innate response to her materials, Quinlivan composes lyrical artworks that stitch together a response to the passing of time. Each element of the work is endlessly translated into an infinite looping web; traveling through our consciousness and drawing attention to the subjectivity of the phenomena of recollection and forgetting. impulses, restraints, tones exhibits brand new ?Spatial Drawings,?as well as two delicate, yet powerful, site-specific and interactive installations that respond to the gallery space and flux of bodies within it. The well-known ?Spatial Drawings?walk the line between sculptural weaving and graphic mark making and explores concepts of temporal reality and memory. Quinlivan?s ?Spatial Drawings? performance develops from wire armatures suspended from the ceiling. The shadows of these wire armatures are the basis for Quinlivan?s live and in-person crystalline salt drawings that will be developed over the course of three weeks during exhibition. This work, shown for the first time in New York City, forms part of a series of site-specific ephemeral drawings Quinlivan has been making in Cambridge, Berlin, Hong Kong, Australia, and Colorado from since 2016.

ABOUT HANNAH QUINLIVAN Hannah Quinlivan, named by BMA Magazine as one of the Six Canberra Artists to watch in 2018, was a finalist for the 2014 Alice Prize and has received such prestigious accolades as the Canberra Critic Circle Award, Shire of East Pilbara Residency Award, Cox Prize, Don Moffat & Cecilia Ng award, People?s Choice Award, Megalo Print Studio and Gallery Residency Award, and the Jan Brown Drawing Prize. She has exhibited major presentations at Canberra Museum and Art Gallery, Canberra; National Portrait Gallery, Canberra; Colorado State University, Fort Collins; Cambridge University, London, Pembroke College, Cambridge; Deakin University, Melbourne; The Hong Kong Harbourfront, Hong Kong; and Kuala Lumpur Biennale, National Art Gallery of Malaysia, Kuala Lumpur. She is in such prestigious public collections as National Gallery of Australia, Gregory Allicar Museum, The Australian High Commission (Singapore), Philip Cox Collection, Deakin University, The Australian National University, KPMG Art Collection, Gaw Capital collection, Colorado State University, Megalo Print Studio + Gallery, Shire of East Pilbara, Ormond College Collection. She was recently selected by the curators of Urban Art Projects to create a major public art commission where her work will be featured on the glazed screen of every platform of the Canberra Light Rail network.

Hannah Quinlivan Falling through theCracks- 2018 Aluminum, rubber, and yarn 138 x 73 x 7 in (350 x 185 x 18 cm)

Left: Detail of Falling through theCracks Bottom: Performance by Hannah Quinlivan

Hannah Quinlivan Holdfast - 2017 Steel and PVC 185 x 75 x 8 in (470 x 190 x 20 cm)

Hannah Quinlivan Tidal - 2017 Anodized aluminum and rubber 95 x 59 x 5 in (241 x 150 x 13 cm)

Hannah Quinlivan Swallowed by theSky - 2017 Acrylic and Indian ink on linen 83 x 73 in (211 x 185 cm)

Hannah Quinlivan You Can Still Feel It In theAir I (front); 48 x 38 x 7 in (122 x 97 x 18 cm) You Can Still Feel It In theAir II (back) 50 x 40 x 9 in (127 x 102 x 23 cm) 2017 LED light and anodized aluminum

Hannah Quinlivan It Started with a Spark - 2017 LED light and anodized aluminum 35 x 46 x 7 in (54 x 117 x 18 cm)

Hannah Quinlivan Countercurrents- 2017 Anodized aluminum 65 x 38 x 4 in (165 x 97 x 10 cm)

Hannah Quinlivan What Remains, 2017 Anodized aluminum 48 x 58 x 16 in (122 x 147 x 41 cm)

Hannah Quinlivan Buried Deep - 2017 Powder coated steel 37 x 56 x 7.5 in (94 x 142 x 19 cm)

Hannah Quinlivan Paper Foundations- 2018 Anodized aluminum and intaglio prints on Hahnemuhle 49 x 49 x 4 in (124 x 124 x 10 cm)

Hannah Quinlivan Turbulence- 2017 Aluminum 54 x 54 x 5 in (137 x 137 x 13 cm)

Hannah Quinlivan Holding Back theGlacier - 2017 Acrylic and ink on Belgium linen 36 x 48 in (91 x 122 cm)

Hannah Quinlivan Constant in theDarkness- 2017 Acrylic and ink on Belgium linen 36 x 48 in (91 x 122 cm)

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JanKossen Contemporary, founded in 2009 by Dr. Jasmin Kossenjans, is an international dealer of contemporary art representing artists working across disciplines. Its principal focus is the representation of an international group of contemporary artists whose diverse practices include painting, drawing, sculpture, video, large scale installation, and performance. Aside from its represented artists, the gallery collaborates directly on exhibitions and projects with other artists and guest curators. The gallery is committed to presenting its artists?work in an international context and to firmly establishing their contributions to the cannon of art history. Gallery artists are in the collections of, and have been part of exhibitions at, many museums around the world.

Their works have been widely published as artist monographs, in art journals, and among critical theory texts. The gallery operates in Basel, Switzerland, New York, NY; and will open a new exhibition space in Hong Kong in 2019.

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IMPRESSUM CONCEPT, EDITING, AND REALIZATION Jasmin Kossenjans DESIGN Robert Panichpakdee PHOTOGRAPHY JanKossen Contemporary TEXT Karen Gilbert No part of this book may be reproduced, stored in a retrieval system or transmitted in any form, or by no means, electronic, mechanical, photo-copying, recording or otherwise, without prior permission of the publisher.

Published by JanKossen Ltd www.jankossen.com 10th edition © March 2018 All rights reserved Printed in USA