The exhibition draws a line under Quin’s previous concerns in painting, best described as the deliberate embrace of paintings tropes, multiplicity of approaches to image-making,materiality of paint and painting’s inner differentiatedness experienced within what can be categorised as the uncanny.
The ‘return’ that the exhibition refers to is an interest in how interdisciplinary dialogues may be initiated between painting and time based media in order to reinvigorate paintings ability to represent duration as a static image and secondly, in the role that repetition plays as a dynamic force in both static and time based media’s attempt to represent duration.