David Quinn, born 1970 in Ireland
Quinn was born in County Galway and grew up in Sligo. He studied art at the National College of Art and Design in Dublin and painted there for a number of years after graduating. Following two years based in Clifden, County Galway he settled in County Mayo where he currently lives and works.
Quinn is best known for his atmospheric, figurative, landscape based paintings which draw on the Mayo countryside and its vernacular architecture and gardens. The Far Garden project was created as a means of presenting an ongoing body of similarly themed work.
Quinn's paintings are represented in Irish and international collections including The Irish Museum of Modern Art, The European Parliament, AIB and the Office of Public Works.
Awards
2007 The Golden Fleece Merit Award.
2003 Featured Artist on "Is Mise an Teanga" documentary film
2000 Selected contributor to the Great Book of Ireland
1999 Mayo County Council Artists Panel
1997 Aer Rianta “Gateway to Art” featured artist.
1996 Victor Tracey Award Nominee
1995 Arts Council Art Flight Award
1995 The Thomas Damann Travelling Award
1992 The Royal Dublin Society Taylor Art Award (Joint First)
Collections (selected)
Irish Museum of Modern Art,
European Parliament, Brussels.
Irish Embassy, Washington D.C.
Guardian Royal,
Office of Public Works, Ireland,
Allied Irish Bank,
Mayo County Council, Ireland,
‘The common, defining feature in all of David Quinn's work is the treatment of light which gives form and solidity to the objects. Unlike the Impressionists who used light to suggest the momentary, the fugitive transience of climatic effects as a reflection of aspects of contemporary
living in a time of change, Quinn often uses light to establish the volume and solidity of objects, thereby dwelling on the ideals of monumentality
and permanence which he associates with his home. However, there is often also a kind of blurring, like a heat haze, which give the work a slightlysurreal, metaphysical atmosphere. His work is intrinsically still and there is the air of timelessness and perpetuity. One can be lulled into a sense of security in the inviting spaces, and comforting enclosures - but there is also implication of the entrapment that seductive environments threaten’
Yvonne Scott, May 2005
Quinn was born in County Galway and grew up in Sligo. He studied art at the National College of Art and Design in Dublin and painted there for a number of years after graduating. Following two years based in Clifden, County Galway he settled in County Mayo where he currently lives and works.
Quinn is best known for his atmospheric, figurative, landscape based paintings which draw on the Mayo countryside and its vernacular architecture and gardens. The Far Garden project was created as a means of presenting an ongoing body of similarly themed work.
Quinn's paintings are represented in Irish and international collections including The Irish Museum of Modern Art, The European Parliament, AIB and the Office of Public Works.
Awards
2007 The Golden Fleece Merit Award.
2003 Featured Artist on "Is Mise an Teanga" documentary film
2000 Selected contributor to the Great Book of Ireland
1999 Mayo County Council Artists Panel
1997 Aer Rianta “Gateway to Art” featured artist.
1996 Victor Tracey Award Nominee
1995 Arts Council Art Flight Award
1995 The Thomas Damann Travelling Award
1992 The Royal Dublin Society Taylor Art Award (Joint First)
Collections (selected)
Irish Museum of Modern Art,
European Parliament, Brussels.
Irish Embassy, Washington D.C.
Guardian Royal,
Office of Public Works, Ireland,
Allied Irish Bank,
Mayo County Council, Ireland,
‘The common, defining feature in all of David Quinn's work is the treatment of light which gives form and solidity to the objects. Unlike the Impressionists who used light to suggest the momentary, the fugitive transience of climatic effects as a reflection of aspects of contemporary
living in a time of change, Quinn often uses light to establish the volume and solidity of objects, thereby dwelling on the ideals of monumentality
and permanence which he associates with his home. However, there is often also a kind of blurring, like a heat haze, which give the work a slightlysurreal, metaphysical atmosphere. His work is intrinsically still and there is the air of timelessness and perpetuity. One can be lulled into a sense of security in the inviting spaces, and comforting enclosures - but there is also implication of the entrapment that seductive environments threaten’
Yvonne Scott, May 2005
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