But in essence, economics is experimental theatre. In his own way, Quinn also assumes the theatrical role of a detective-artist. The Artistic Territory Quinn's installation surrounds me. I feel like a super-molecule caught up in the movement of some larger indeterminate whole. My identity is pulled in different directions, between the visual fascination of undulating fabrics, the aural repetition of gurgling aerators, the tactile seduction of functional objects.
Sensations run through the body, dispersing the faculties.
There is a certain lightness of being in the aesthetic density of the exhibit. But in the midst of this sensual chaos I become an attractor, distributing an existential territory. I become a rhythmic subjectivity at the intersection of the forces that create me. It is no longer a matter of looking at sculpture, but of passing into it, of entering a modulation with non-organic bodies so that I might reinvent my life as an artistic territory. The aestheticism invoked by Quinn's work heralds the dawn of a new millennium, freed from the endgames and nostalgia of the late twentieth century.