On the car radio on Sunday, I caught the tail end of a To The Best Of Our Knowledge episode – Was The Art Worth All The Pain ? – that was an interview with the visual collage artist, Nathaniel Mary Quinn. What really got my attention was, even though he was not an adoptee – abandonment and trauma issues – were quite similar to what most adoptees experience. And his resilience and maturing perspective on what happened to him in his earlier childhood was inspiring and remarkable. At the end of the episode, he indicates the abandonment he experienced gave him faith in a larger reality that he interprets as Divinely guided in which what happened to him was necessary for him to become what he was capable of.

When he was 15, his family simply disappeared, leaving him to fend for himself at his boarding school. He had earned a scholarship at a really high quality school. His mother had died and when he came home for what he expected to be a Thanksgiving shared with his 4 older brothers and father, he found an empty, abandoned apartment. It was traumatic not knowing where any of his family was but he returned to school and worked hard. Really hard. He developed a study schedule and stuck to it because he knew he was one bad report card away from losing his scholarship and becoming homeless.

At school, he was fed 3 or more meals a day and had to wear a uniform so clothes were not an issue. On Sundays, the school band he was part of at Culver Academy in Chicago would put on a parade performance. Afterwards, when everyone else went to lunch, he went to a mound of grass on a golf course and grieved to a song by Al Green – on repeating loop 10 times – for 4 full years.

Today, he is an acknowledged artist with works included in the collections of The Art Institute of Chicago, the Brooklyn Museum, and the Whitney Museum of American Art. His first solo exhibition was at the Madison Museum of Contemporary Art. Quinn’s work is a complicated blend of painting and drawing that achieves the appearance of collage, a combination of human faces with comic book figures and other provocative images. Quinn describes his art as “luminism.”

“The technique of light,” says Quinn. “It’s the torch that I’m carrying from the platform of cubism. Cubism was a technique designed to show multiple angles and viewpoints of a particular object, but to show it on the same plane. “Well, luminism is designed to show the multiplicity of viewpoints and dispositions of the internalized world of that object.”

“Whereas in cubism one would paint the multiplicity of viewpoints of a cup, luminism will show the multiplicity of viewpoints of the internalized world of that cup,” he says. He applies a perspective of luminism to collages of human, often family, figures from his life.  His art draws on a difficult upbringing spent in an impoverished public housing project in Chicago with a broken family.

It can be uncomfortable to look at. His collaged and fragmented figures are meant to demonstrate that we are all the sum of our experiences. In his words, “I hope to convey a sense of how our experiences, both good and bad, operate to construct our identities. I also want to portray a mutual relationship between the acceptable and the unacceptable, the grotesque and what is aesthetically pleasing.” Formed from an amalgam of family photographs, images from articles and advertisements, and his own furious brushstrokes and charcoal marks, the men and women who populate his compositions appear as hybrids, at once monstrous and delicate. For Quinn, they are portraits of his fractured family and images of all human beings’ multi-faceted selves.