Nathaniel Mary Quinn's Lunch: the human form stripped back to its essence

A weekly guidance column that discerns the forces and meanings of an art piece

Send the Bacon immediately ...

Francis Bacon's anguished late self-portraits recall the twisted elements which shape the lunch in 2020.

The title is a riff of tongue, cheeks and nose like the offcuts of butcher.

Like Quinn, Bacon was like beef, portraying bodies as pudding on his own hands.

Take the river ...

Quinn's collagers are produced from pastel, oil, gouache, and charcoal products.

In an experimental project in the Chichago South Side, the artist develops these into abstract images, often symbolic of the characters absent in his youth.

For Mary's devotion ...

A instructor supported him to get a scholarship to a rural, private boarding school will radically alter Quinn 's life.

But his mother , Mary, died during his first year.

And his father and brothers died as he returned in Thanksgiving to Chicago.

School-focusing appeared his only choice, and he took his mother's name before graduation.

Accessible accidents ...

Like Bacon, Quinn 's uncompromising, shocking practice indicates trauma, while historically prevalent wounds in the past were also suffered, including addiction, gang violence, and homelessness.

In answer, Quinn's interrogating paintings are implicitly affirmative toward Bacon's existential terror.

Quinn's roles are changing and open-ended, denying anything readily labelable.

Davies Street Gagosian, W1, November 21

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