172:-coated paper, two materials that resist one another, and the chemical process creates its own distortions. As David Hunt puts it: "Maureen McQuillan's threadlike lines of ink and resin flow across the canvas like jagged tributaries converging in an oceanic center." McQuillan describe her relationship with line thus: "I am fascinated by the seemingly endless possibilities of line, and how I can evoke phenomena of the natural, virtual and artificial worlds via a simple, open, and performative process."
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258:. She translated her signature ribbons of vivid color into geometric patterns, and, building on her practice of using clear acrylic mediums, created floor to ceiling laminated glass windows that span three sides of the station and fill the space with natural light. The title is drawn from the 1969 psychedelic rock song by
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called Sensory
Forensics. She was inspired by the idea that digital products like scanners and cameras are encoded with tiny flaws that distort their ability to accurately capture and reproduce images. The machines that we think of as creating perfect representations of reality are in fact
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She works on wood panels, layering acrylic polymer, white lines, and translucent ink to create her complicated nets of folding ribbons. The layering creates a sense of luminosity and infinite space. The effect of shifting color and wavering line is subtle and full of movement, described by one critic
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Although she addresses digital technology, the tangibility of the artwork is essential; some of the spatial effects are achieved through the physical stacking of layers separated by clear medium. The finished pieces are up to 3/4 of an inch thick. Materiality is important to her drawings as
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McQuillan creates kaleidoscopic abstractions with overlapping layers of translucent color and rippling lines. She takes a systematic approach, applying the ink according to a rigid set of her own rules akin to the structure of a line of music or computer code. In these works, she investigates the
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is a New York-based contemporary artist, who, though primarily a painter, has worked in a range of mediums that include drawing, painting, camera-less photography, and sculptural installation. Across disciplines, she uses color and flowing line to create her complexly patterned abstractions.
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She follows a set of strictly defined rules but embraces unforeseen effects. As she describes it: "As much as I try to follow the rules I made at the outset, my process invariably runs off the rails, and goes off in an unexpected direction. That is not to say I just rely on accidents, because my
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during a 2008 residency at the Islip Art Museum on Long Island, NY. Without a camera, she uses hand-drawn lines and their shadows to create images on photo-sensitive paper. The result is a kind of sculpture translated into two dimensions. The resulting imagery is complicated but the tools
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The drawings feel both highly structured and organic, which is a result of the process-driven way they are made. As in her later color pieces, she invents a set of arbitrary instructions. They are impossible to follow accurately, and she allows these failings in the human hand to create visual
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She frequently incorporates skewed and distended grids. The negative and positive spaces are equally important, which increases the effect of spatial ambiguity. While her drawings are non-representational, they bring up numerous schematic associations, from an
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and commented on the mesmerizing quality of her twisting threads: "There’s no telling how
Maureen McQuillan achieves the effect of streamers unfurling through the darkening space… but the result is hypnotic and as delicate as smoke."
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While the pieces are handmade, her process results in something that can feel digitally produced. The finished pieces are reminiscent of cellular structure under a microscope or cosmic phenomena through a telescope.
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process is a very directed and restrictive system. It’s just that all plans go awry and all systems go haywire." The translucent overlapping colors combine optically in unexpected ways.
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well, as critic Helen
Harrison explains: "Ms. McQuillan’s ink drawings on resin-coated paper subtly exploit the resistance of the two media, forcing distortions that recall seismic graphs."
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298:, NY; The Islip Art Museum, NY; the John Michael Kohler Arts Center, Wisconsin; and Le VOG Contemporary Arts Center, Fontaine and The College of Art and Design, Grenoble, France.
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subjectivity of color, and how technology mediates and defines our modern perception of it now that the natural phenomenon is so often translated through printer ink or
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McQuillan's early work is primarily monochromatic and uses undulating, repetitive lines to create a sense of space and rhythm. Critics have noted the reference to
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encoded with errors and defects. The sculptural window installation was made from neon tubing, mylar, and more than a thousand feet of electrical cable.
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are born." Her drawings develop tension between pure abstraction and the cognitive impulse to create narrative around an image.
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Maureen McQuillan has been showing in the US and internationally since the nineties. Group exhibitions include: The
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The recipient of numerous awards and residencies, her work is held in public collections across the US and abroad.
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797:"MTA Reopens Two Astoria Subway Stations After 8 Months Of Renovations"
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As an extension of her drawing practice, McQuillan began producing
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required are very simple, just a light bulb, paper and chemicals.
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describes one piece as the "so–called stellar nursery where the
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414:(Press release). New York: McKenzie Fine Art. June 21, 2015.
704:"Exhibit tracks the trend of mapping out truth and beauty"
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Born in New York, McQuillan received a BA in
English from
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New York Studio School of
Drawing, Painting and Sculpture
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New York Studio School of
Drawing, Painting and Sculpture
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effects. She has worked with printer's ink and
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590:Espacio Negativo Terrano Nyorguino Catalogue Essay
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685:"Gallery Watch: Driven to Dynamic Abstraction"
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347:"A conversation with artist Maureen McQuillan"
250:, Crystal Blue Persuasion, opened at the
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427:"Maureen McQuillan's Offset Drift on the LES"
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742:Maureen McQuillan: Drawings Catalogue Essay
625:"Lovely lines draw the eye at Limn Gallery"
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214:Example of a Photogram by Maureen McQuillan
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391:"An Exercise in Reading Between the Lines"
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155:Resin and Ink Drawing by Maureen McQuillan
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593:. San JosĂ©, Costa Rica: GalerĂa Nacional.
370:Lombardi, Dominick (September 24, 2000).
664:Genocchio, Benjamin (October 11, 2009).
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137:"as ephemeral-looking as smoke rings."
425:Condon, Elizabeth (November 9, 2018).
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345:Xavier, Francis (February 25, 2016).
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778:"The Infinite Possibilities of Line"
745:. New York: James Graham & Sons.
508:Aukeman, Anastasia (December 2002).
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683:Bonetti, David (January 28, 2000).
702:McQuaid, Kate (January 21, 2005).
412:"Maureen McQuillan: Process Color"
116:2015 Painting by Maureen McQuillan
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784:. New York: The Interalia Centre.
776:McQuillan, Maureen (March 2015).
759:Necessary Detours Catalogue Essay
645:McCabe, Bret (January 21, 200s).
389:Greben, Deidre (April 25, 2003).
331:. New York: The Interalia Centre.
323:McQuillan, Maureen (March 2016).
470:Harrison, Helen (May 11, 2003).
246:In 2018 McQuillan's first major
623:Baker, Kenneth (July 9, 2005).
587:Shapiro, David (October 2004).
546:Danto, Ginger (December 2002).
527:Baker, Kenneth (July 5, 2008).
911:http://www.mckenziefineart.com
762:. New York: McKenzie Fine Art.
666:"The Weather We Barely Notice"
489:Everett, Deborah (July 1999).
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946:American contemporary artists
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604:Smart, Paul (June 28, 2007).
565:Hunt, David (November 1999).
529:"Wauson Remembered at Haines"
292:Contemporary Museum Baltimore
235:Contemporary Museum Baltimore
795:Chung, Jen (June 25, 2018).
739:Freedman, James (May 1999).
691:. San Francisco, California.
451:Landi, Ann (October 2014).
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803:. New York. Archived from
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756:Spade, Sue (March 2010).
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833:. MTA Arts & Design
629:San Francisco Chronicle
533:San Francisco Chronicle
288:Weatherspoon Art Museum
689:San Francisco Examiner
612:. Woodstock, New York.
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728:. Paris. April 2005.
651:Baltimore City Paper
606:"Talk About Culture"
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878:"Maureen McQuillan"
807:on October 12, 2019
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831:NYCT Permanent Art
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354:LA Examiner
260:Tommy James
242:Public work
198:black holes
182:weather map
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567:"In Tense"
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491:"Pattern"
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571:Time Out
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722:"Guide"
552:ARTnews
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