For my further artistic practice I would like research the accelerating effect the implementation of digital technology and algorithms has on an individual.
For my further artistic practice I would like research the accelerating effect the implementation of digital technology and algorithms has on an individual.
Artworks and Processes
Artworks and Processes
Artworks and Processes
Artworks and Processes
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Ich bin ein Textabschnit. Klicke hier, um deinen eigenen Text hinzuzufügen und mich zu bearbeiten. Ich bin ein Textabschnitt. Klicke hier, um deinen eigenen Text hinzuzufügen und mich zu bearbeiten.Ich bin ein Textabschnitt. Klicke hier, um deinen eigenen Text hinzuzufügen und mich zu bearbeiten.Ich bin ein Textabschnitt. Ich bin ein Textabschnitt. Klicke hier, um deinen eigenen Text hinzuzufügen und mich zu bearbeiten. Ich bin ein Textabschnitt. Klicke hier, um deinen eigenen Text hinzuzufügen und mich zu bearbeiten.Ich bin ein Textabschnitt. Klicke hier, um deinen eigenen Text hinzuzufügen und mich zu bearbeiten.Ich bin ein Textabschnitt.
Christina Quarles
Christina Quarles in her studio, 2021. Courtesy the artist and Pilar Corrias, London. Photo: Ilona Szwarc.
“My project is informed by my daily experience with ambiguity and seeks to dismantle assumptions of our fixed subjectivity through images that challenge the viewer to contend with the disorganized body in a state of excess.”
– Christina Quarles
synthesizes digital technology and traditional painterly
destabilized sense of space
distorted and disintegrated figures
hybrid environments
messy and multifaceted selves
existing within a body
complex identities
contradiction and ambiguity
ambiguity
dismantle our fixed subjectivity
the disorganized body in a state of excess
Artists website → https://www.christinaquarles.com/
Christina Quarles (b. 1985, Chicago) lives and works in LA. In 2021 she joined the board of trustees of the Museum of Contemporary Art, Los Angeles. (Quarles 1)
“Quarles describes her work ‘as being portraits not of looking at a body, but portraits of being within your own body.’” (Hauser & Wirt, 2021)
The bodies she paints are subjected not only to the weight and gravity of the physical world but also to the pleasures and pressures of the social realm. She combines ambiguous figures whose limbs, torsos, and faces merge with familiar domestic objects made strange through her colour choices and experimental painterly gestures.
She synthesizes digital technology and traditional painterly techniques as she generates aspects of her compositions with Adobe Illustrator where introducing digitally rendered patterns and markings that destabilize the sense of space in her paintings. (Hauser & Wirt, 2022; Quarles 2)
Her distorted and often disintegrated figures inhabit hybrid environments and reflect the fragmented experience we have of our own bodies and underscore the gaps that exist between our self-understanding and others’ perceptions. The subjects do not easily fit within the confines of the canvas or categories, and who commingle with each other in enigmatic ways. With her increasingly complicated groupings of figures, Christina Quarles demonstrates her sensitivity to the ways in which, through intimacy and in relationship, we come to know each other as messy and multifaceted selves. Ultimately, Quarles’s work explores the universal experience of existing within a body, as well as the ways race, gender, and sexuality intersect to form complex identities. (Quarles 2)
O Holy Nite, 2021, Acrylic on canvas, 77 x 96 in
A Little Fall of Rain, 2020, Acrylic on canvas, 72 x 84 in
Tomorrow Comes Today (Come What May/Cum, Whatever, Maybe), 2020, Acrylic on canvas, 55 x 86 in
Tha Nite Could Last Ferever, 2020, Acrylic on canvas, 84 x 72 in
"Legibility teeters on the edge of lack and excess – when we lack information about a thing, it is vague. However, as information accumulates, the risk for contradiction increases and legibility tips into ambiguity. As a Queer, cis-woman, born to a black father and a white mother, I engage with the world from a position that is multiply situated. My project is informed by my daily experience with ambiguity and seeks to dismantle assumptions of our fixed subjectivity through images that challenge the viewer to contend with the disorganized body in a state of excess.
In this work, contour lines, and the emphasis on both the surface and the edge of the frame are analogous to the edge of the body. For example, in my installation “It’s Gunna Be All Right, Cause Baby There Ain’t Nuthin’ Left,” what appears to be pictures hanging on the wall are in fact two-dimensional, painted trompe l'oeil illusions. Just as the edge of the canvases in this installation are illusory, so too are the boundaries that demarcate the self.
The contradiction of my Black ancestry coupled with my fair skin, results in my place always being my displace. Throughout my paintings, there are perspectival planes that both situate and fragment the bodies they bisect – location becomes dislocation. Fixed categories of identity can be used to marginalize but, paradoxically, can be used by the marginalized to gain visibility and political power. This paradox is the central focus of my practice."
(Christina Quarles, 1)
Installation view, Christina Quarles
Frye Art Museum, Seattle, WA
February 12 - June 5, 2022
Hauser & Wirt about Quarles paintings
“In their visceral intensity, these portraits bring to mind the art of late Austrian master Maria Lassnig (1919-2014), whose theory of ‘body awareness’ famously shaped a Surrealist-influenced method of communicating her mental perception of herself and her feelings through lacerating depictions of her own naked figure. Similarly, Quarles’ work acts as a gateway to explore what it means to know oneself. Though many bodies in her paintings appear to be nude, their gender is deliberately indeterminate.” (Hauser & Wirt, 2021)
Christina Quarles
Frye Art Museum, Seattle, WA
February 12 - June 5, 2022
In the largest presentation of her work to date, Christina Quarles surveys her paintings of the last three years and features the US debut of a large-scale installation that playfully references trompe l’oeil. The exhibition also includes a selection of Quarles’s drawings.
(Quarles, 2)
trompe l’oeil
an optical technique for producing the semblance of depth that the artist relates to the illusory boundaries that demarcate the self
Christina Quarles: Studio Visit; Christina Quarles: In Likeness 18 JUN – 29 AUG 2021 - at South London Gallery
Key Takeaways
Christina Quarles works synthesise digital technology and traditional painterly spaces and create a new landscape of the body. The way in which she distorts the body reveals its complexity and limitlessness. Her hybrid environments make me think that I could introduce even more contradiction and ambiguity into my composition. Her views regarding the representation of bodies that exists outside of norms are very relevant for my research.
References
Quarles 1, C (no date) About. Available at: https://www.christinaquarles.com/About (Accessed: 21.05.22)
Quarles 2, C (no date) Fyre Art Museum. Available at: https://www.christinaquarles.com/Christina-Quarles-Frye-Art-Museum (Accessed: 21.05.22)
Hauser & Wirt (2021) Christina Quarles joins Hauser & Wirth. Available at:
https://www.hauserwirth.com/news/34907-christina-quarles-joins-hauser-wirth/ (Accessed: 21.05.22)