Jake Quinlan is a contemporary artist living and working in South Wales. Quinlan’s practise revolves around the ideology and philosophy of the working-class anarchistic mindset of punk music, expressed through the means of gestural abstraction. Jake’s works aim to defy all historical standards of creativity with a continuous desire to refuse conformity to artistic norms. Quinlan credits his inspiration to 20th-century American abstract expressionism artists such as Abbott, Kline, and Motherwell. As well as a selection of alternative artists such as Auerbach, Bacon, and Fratt.

Tell us a little bit about yourself?

I am a contemporary artist living and working in South Wales, UK. My practice revolves around the ideology and philosophy of the working-class anarchistic mindset of punk music, expressed through the means of gestural abstraction. My work has been described as bold and violent, while many also claim it has an uncomfortable silence that you cannot help but become absorbed by. In 2024, I was awarded a 2-year fellowship with 56 Group Wales, an exhibiting group of contemporary professional artists working across a wide range of media and concerns.

What does your current process look like and how has it evolved since you began painting?

My process is complex, and there is no one single way a painting is made. Generally I start with a study to vaguely record an idea I’ve had. It is then through the working of the painting that they develop. My practice combines various methods, combining various thicknesses and fluidities of paint, working alla-prima to generate unique moments of mark-making within the colours, and implementing various drawing materials, such as charcoal or pastels, to diversify the mark making seen. I feel like the evolution of my work has been my understanding. Simply understanding the physical characteristics of paint, understanding when and where to use what type of paint, and ultimately the skill of controlling a painting as to not allow it to become too much for its own sake. Many times I have ruined paintings by continually adding and altering the composition, only to realise I should have stopped painting weeks ago. Overall my practice has evolved with experience and intuition.

Where does your love of punk music come from and how do you aim to explore this through your work?

My love of punk started when I was young. My father always had punk/ska music playing. So from a young age, I have been exposed to alternative music and bands such as The Clash, The Skidz, and Madness. As I grew older, the more I realised how the music resonated with me, and how it seemed the lyrics almost foreshadowed things that were to happen to me as a member of the working-class. I think ultimately I am trying to do the same with painting as punk did with music. Except I try to do it with paint and charcoal rather than a guitar and vocal cords. Exploring painting in a way of the physical material and process, aiming to create something beautiful, while simultaneously expressing my generations boredom and frustration to the world.

What does 'Abstraction' mean to you?

To me, abstraction simply means an element without any sort of directly recognisable narrative. The lack of recognisable structure makes for a slower viewing experience. I like that abstract art, even as fast and violent as my work, forces you to slow down and consider the work for what it is rather than what you understand. With my work relating to punk, it seems only logical to me that I put over the expression as truthfully and boldly as possible. I feel like my work is anti-oppressive and speaks both to and for a generation that feels hopeless and abandoned by outer society.

Have you faced any specific challenges or limitations in working with such a gestural approach?

All the time. As a small artist searching for representation or exhibition opportunities, it’s almost as if many institutions are still scared to present abstraction as a true art form. It seems to me that many galleries still do not want to accept pure abstraction as an art form that deserves notoriety. In my opinion, the world of abstraction in the main stream art world is currently stuck in a mindset that if there is no recognisable imagery within the work, then it cannot and will not be interpreted as anything. Many galleries I have tried to show with have been apprehensive to even consider my work. I have lost count of the number of emails I have received from galleries saying they do not feel their clients would appreciate gestural abstraction in the gallery. I feel like my biggest limitation so far in my practice is almost the narrow-mindedness of the masses. People who see abstraction as nothing without even attempting to consider or understand the meaning and reason behind the work. One of my favourite quotes of all time is by the American journalist H. L. Mencken, who claimed ‘the common man is a fool,’ which in the context of the mass reactions to contemporary abstraction seems quite fitting.

Your earliest memory of art?

I cannot recall a specific early memory of art. From a very young age, it was the only thing I had ever been truly good at. I was always the art kid in the school and all the way through college. I think the moment where I felt I needed to make art my career was visiting the ‘Francis Bacon: Man & Beast’ exhibition at the Royal Academy in London. I was already studying my foundation at this time, but seeing that exhibition set in stone my desire to become a full-time, self-employed artist.

Who or what is your biggest artistic inspiration?

My inspiration comes from so many places. Obviously, music is a major influence. But when studying for my foundation I came across artists such as Franz Kline and Willem De Kooning, which sent me down a rabbit hole into the world of abstract expressionism. My former tutor, contemporary Welsh painter Martyn Jones, also played a major role in my development. Martyn is the one who pushed me to explore colour within abstraction, and later the combination of texture and variations of mark making to build a dense painting.

Are there any particular artists that you are currently enjoying?

Both artistically and musically, I am always exploring new ventures. With artists, I seem to continuously find inspiration from a select few artists, such as Francis Bacon, Frank Auerbach, Mary Abbott, and Robert Motherwell. But I always like to explore different styles, and I often find myself looking at artists from cubism, minimalism, and St. Ives. With music, it’s almost like an endless loop. The main favourites, like the Sex Pistols, Stiff Little Fingers, Motley Crue, Hanoi Rocks, etc., are always playing close by. Even when I feel like I’m in the mood for something completely different, it’s not long before I’m back in that sort of comfort zone.

Your favourite album?

It is a truly impossible question to answer. It completely depends on my mood. I think overall I’d have to go with ‘Never Mind the Bollocks, Here’s the Sex Pistols,’ simply because of their integrity and legacy. But ‘Inflammable Material’ by Stiff Little Fingers always seems to creep back into my day-to-day listening. I’d also have to give an honourable mention to ‘Dookie’ by Green Day.

Are you working on any projects you are particularly excited about?

I have just recently finished a series of paintings on paper, titled Strade Diverse (An Italian translation of ‘Separate Ways’). These works were made using a predetermined concept, a background of two vertical colours, a trio of white lines, and a chromatic-black key form. The idea of ‘separate ways’ was to use a single concept to produce multiple works, and allowing the colours to interact with each-other to create a unique viewing experience in each installation of the series. I have also recently completed an Untitled painting on a 100x100cm canvas which I am extremely happy with, which has also left me wanting to paint on a larger scale more and more going forward.

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