Galleri Christoffer Egelund proudly presents PAREIDOLIA, the second solo show in Copenhagen by Australian artist Saxon Quinn whose abstract works contain references to untamed childhood imagination, freedom, pareidolia and overload of positive energy. Saxon Quinn’s latest paintings invite the viewer to observe the creative combination of both an abstract and figurative approach. The 20 new works on canvas carry a sense of speed and intensity, gestures urgent and alive, offering a glimpse into the artist’s room: its movements, chaos, freedom and clarity. The exhibition is a window into Saxons world of raw, naive and instinct brush stokes influenced by his serious interest in history and heritage of Abstract Modernism, among others the Danish CoBrA painters. The works draw on the influence of Asger Jorn, intertwined with Quinn’s own evolving language of faces and masks. Across the body of works, faces emerge, dissolve and collide. Never fixed, but reflecting something broader and more collective. Like Jorn and other CoBrA painters, Quinn leans into a raw, childlike approach, prioritising instinct and imagination over control. Learning about Jorn’s shift toward a more instinctive way of working struck a chord for Quinn. Not as a comparison, but as a nudge to let go, trust the process, and allow the work to evolve without restraint and bounderies. Reflecting on his artistic development, Quinn notes:“My earlier works were tighter, cleaner, safer – planned hierarchy and placement. Over time, work slowly loosened. I knew I’d hit something important, and that I had more enjoyment when painting like this. More freedom. I really wanted to keep going without restraint or doubt, to move in this direction rather than shy away from it”. At the core of PAREIDOLIA lies an engagement with imagination and recognition as a fundamental human impulse. Drawing on childhood memories; moments of gazing into patterns and discovering faces, noses, eyes within knots and patterns of wood – Quinn visits the phenomenon of pareidolia. Faces emerge, dissolve and reconfigure throughout the works; they are never singular or stable, but rather reflections of shared emotional states of anxiety, relief, amazement and joy. They echo the strange rhythm of a daily life, where emotional highs and lows sit side by side. The exhibition invites viewers into Quinns way of seeing, where meaning is fluid, forms are unstable, and lines of faces are everywhere you look. Like the works of historic abstract artists, Saxon Quinn’s paintings are carefully balanced, with great attention to the graphical composition of the elements, vibrant colours on earthy backgrounds. As a remarkable detail on many of Saxon’s works, he continues his painting on the frames. Saxon Quinn breaks the tradition letting the work overflow and continue onto the frame. The work and its abundant energy become something that cannot be contained. Saxon Quinn (b. 1986 in Victoria, Australia) is a promising up and coming artist. He has exhibited at galleries across the world in cities like New York, Los Angeles, Melbourne, Sydney, Berlin, London and has participated in art fairs in Sydney, Seoul, Taiwan and Madrid.