Quaife’s practice has been described as that of a conceptual artist interested in paint and as being connected through an approach that is akin to an archaeology of the modern and contemporary. His work considers the recirculation and re-imagination of images and forms in the art world and beyond. The emergence of myths as collective cultural and political memory are often the focus of this work. From media images of the global uprisings of 1968 to the mountains in Cezanne’s paintings and Spielberg’s films via pone masts pretending to be trees, Walter Benjamin’s grave, or Roland Barthes hobby paintings, these diverse subjects are connected by sense that nothing
