CONTEMPORARY ART STOCKROOM Hannah Quinlivan

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*News Update*
Hannah recently exhibited at the National Art School in Sydney through May and June 2023. Find out more here.

The Canberra Times have written up a feature on Hannah Quinlivan's latest commission for the National Arboretum. Read Megan Doherty's article here.

READ: Arts Hub Editor Gina Fairley reviews Conjunctures

Through various methods of exploring line and form – via traditional drawing techniques, canvas painting, wire and salt installation, as well the use of LED lighting – Hannah challenges the way we expect drawing to operate and be presented. Subsequently her work becomes experiential not only in its physicality but also through a range of conceptual connections. Grappling with contemporary issues such as human migration, emotional cognition, time’s flowing passage and more traditional explorations of landscape and remoteness, Hannah’s work uses processes of repetition, ephemerality and the interplay of light and shadow to open up discussions around some of contemporary society's most pressing topics. The evolving quality of her practice gives Quinlivan’s work an organic, living quality that creates an immersive experience for the viewer.

Memory has long been a dominant theme in Quinlivan’s practice. She sculpts memory of place through light and shadows, movement and reflection. This recent body of work continues to focus on place memory and its ecology through an alternate lens of ‘home’ and the life of family within. It is through her childhood that home is brought to the fore in the form of place memory. Throughout the series runs a weft of contrasting lines reminiscent of both contoured landscapes and the loosening thread of an old family blanket. Like the thread of an old blanket, memories are woven, shaped and intersect with others’ and their recollections. It is in this moment when memories collide that the forgotten is remembered.
Excerpt from essay by Sita McAlpine, 2022

Installation view: FLG booth at Sydney Contemporary 2019, Uncertain Terrains (foreground), Tidal (right)

Time is unfixed, flowing fickle, fluctuating. Temporal asymmetries cleave and splinter. Frozen, dripping, gushing, moments drift and rush. Turgidities turn turbulent, echoing the glacial groans and moans of collapsing time. Unevenly distributed duration unhinges the conditions of the everyday. Not just fast forward but also slow motion, time is out of joint, stretched thin like a membrane and compressed like wrinkled skin. Stress fractures and crumple zones contour the unnatural course of life, marking crisis and contradiction. Rhythmic dilation and compound acceleration, these are the conditions of still motion.
Artist Statement - Hannah Quinlivan

Quinlivan is a young artist who has found her own distinctive voice, one which unites the intimate and the personal with the public and universal. Her art is distinctive, intense and very memorable.
Sasha Grishin, 2018

Installation view: Delineation, at the Town Hall Gallery in Hawthorn 2019

Hannah Quinlivan's lyrical installation 'Shroud' was installed at Lake Burley Griffin in Canberra as part of Contour556 in 2020.

ARTIST PROFILE:
Hannah Quinlivan graduated from the Australian National University with a Bachelor of Visual Arts in 2013 and is currently a PhD candidate within the ANU School of Art & Design. Her practice has been recognised by curators and collectors alike for her skilful exploration of ideas around human movement, emotional cognition and time’s flowing passage.

She has participated in a number of international group and solo exhibitions including the international survey of contemporary textile art MINIARTEXTIL Como, Italy (2019), her solo exhibition Impulses, Retraints, Tones at New York’s Jan Kossen Contemporary (2018), Hong Kong Art Central (2017), the solo Pellucid at Colorado State University (2017) and a collaborative drawing performance entitled Immobilised at the Zentrum für Kunst und Urbanistik, Berlin (2017). She won an ANU Scholarship to attend the conference, Time and Temporality, at Cambridge University (2016), where she concurrently exhibited an ephemeral, site-specific work Spatialisation at Pembroke College in the same year. She also participated in Project Field Trip, a touring exhibition travelling through Singapore, Philippines and Indonesia (2016).

Within Australia she has held solo exhibitions at the National Portrait Gallery in Canberra (2020, 2019, 2016), the Town Hall Gallery in Melbourne (Delineation, 2019), the Canberra Museum and Art Gallery (Anatomy of Drawing, 2017), and at Deakin University, Melbourne (Travelling Light, 2017). Quinlivan has also participated in large group shows such as Contour554, Canberra Public Art Biennal, Canberra (2022, 2020), the Queensland College of Art’s Drawn to Experience: Survey of Australian and International Contemporary Drawing Practices (2015), Bega Valley Regional Gallery’s MOTION: The Body & Movement in Contemporary Art Practice (2015) and at Art Vault Mildura as part of their Australian Print Triennial (2015).

Major public art projects she has undertaken include a major artwork in the foyer of 80 Anne St, Brisbane (2022), a sandstone engraving and ceramic print on glass at for the facade and awning of 275 George Street, Sydney (2021), creating a site specific installation for Design Canberra, City Walk (2020) and producing a series of unique site-specific artworks for each of the Canberra Light Rail Network stations (2018).

She has been a finalist in the Alice Prize (2018, 2014), the Churchie Art Prize (2017), and the Calleen Art Award (2017). She was an artist in residence at both the Art at the Heart Residency, Shire of East Pilbara (2017) and the Zentrum fur Kunst und Urbanistik where she also completed a mentorship under the guidance of artist Chiharu Shiota (2017). She was the winner of the ANU College of Arts & Social Science Scholarship (2016), was also awarded a Jump Mentoring Program through the Australia Council for the Arts (2014), and arts funding with ARTS ACT (2014), which allowed her to establish a mentoring program for young Canberra arts graduates.

Quinlivan is represented in number of collections including the National Gallery of Australia, The Australian High Commission (Singapore), ACT Legislative Assembly Art Collection (Canberra), the Arthur & Suzie Roe Collection, Justin Art House Museum, Deakin University Art Collection, The Australian National University, KPMG Art Collection, Shire of East Pilbara West Australia, Philip Cox Collection, Ormond College Collection, and various private collections.

HANNAH QUINLIVAN MONOGRAPH
FLG is delighted to have produced this comprehensive monograph covering Hannah Quinlivan’s recent career highlights. This 250pp full colour book, from 2011- 2018, provides an in-depth introduction to Hannah Quinlivan's extensive art practice. Limited edition of 150, full colour, printed on satin art paper and PUR bound. Each book to be signed and editioned by the artist.

Available for purchase at FLG for $50 plus GST

PROJECT ARCHIVE
Hannah Quinlivan has been announced as the commissioned artist for DESIGN Canberra's new City Walk artwork.

Watch Hannah discuss the commission

* Read On gender, pay and public art article from Arts Hub, April 2020
* Read The Moving Impulses of Hannah Quinlivan article from Art World Women, March 2018
* Watch Quinlivan's Travelling Light performance at Deakin University, 2017

* Listen to ABC radio's Louise Maher's interview with Quinlivan, discussing her 2017 exhibition Anatomy of a Drawing at Canberra Museum and Gallery

* Watch Quinlivan speaking about her 2016 performance work Arrythmia at National Portrait Gallery, Canberra

* Watch Hannah's 'Synecdoche' Artist Talk at Flinders Lane Gallery in June 2016

* Visit Quinlivan’s artworks have been featured on all 13 stops of the new Canberra Light Rail Network. This major public art commission was undertaken in conjunction with Urban Art Projects.