James Quin is based in the studios at Liverpool’s Bluecoat.
‘Looking at these paintings I feel I have the same relationship to them as I might to the first-person narration of a novel or short story. I feel as though I am seeing these images through another’s eyes and understand something of the “narrator” by the way he describes his world. In this sense part of the subject of the painting curiously exists out of the picture frame. A further analogy is that of film – these paintings have characters, artificial stage sets, locations, vantage points, camera angles, close-ups and dissolves, long shots, implied narratives, and they play with the viewers gaze’. (From essay by Christopher Jones)
In James Quin’s most recent work for the Bluecoat’s Global Studio exhibition he takes some of the interests described here into new territory but his intentions remain resolutely consistent. Quin is showing a group of 500 drawings on the inside covers of first edition readers digest condensed novels found in charity shops across Merseyside. Quin has attempted to make each drawing identical to the first of the series. The image is a disarmingly understated one, the back of a woman’s head. However, the nature of Quin’s examination of it, lend the images he creates a psychological distance that is familiar from the earlier paintings.
Portrait photo above – c. McCoy Wynne