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Marc Quinn
I've just done a series of paintings of people's irises ...You get an image that is at once incredibly colourful and abstract in a way, but also a complete signifier of identity in the way that DNA is, because an iris doesn't change. You can scan your iris to get into the country now. In the middle you have this black hole, which to me signifies the void and mystery of life. - Marc Quinn continues to explore the theme of nature mediated through human intervention. Science, philosophy, and evolution converge in a time where an individual iris can encompass the world and the world can be seen in one person’s iris.
Technique
From a portfolio of 8 colour etchings, printed on 350gsm Hahnemuhle Bright White paper, published by The paragon Press, 2013

Marc Quinn
Born in London (1964), Marc Quinn studied History of Art at Cambridge, subsequently creating sculpture in a challenging range of media. His early series of marble figures of people who have lost their limbs or were born with a disability culminated in a giant statue of a heavily pregnant Alison Lapper, a woman born without arms, on the fourth plinth in Trafalgar Square, London, in 2005. ‘Self’, a sculpture of the artist's head created from his own frozen blood, is equally uncompromising: first exhibited in 1991, there have been several iterations since. In 2014, the film ‘Marc Quinn: Making Waves’ revealed the extent to which Quinn’s work has become globally recognized and collected, coinciding with his preparations for ‘The Toxic Sublime’ at White Cube, Bermondsey, in 2015. More recently, Quinn has had a major installation of his sculpture in ‘Drawn from Life’ at London’s Sir John Soane Museum.

Availability: In stock

POA

Eye of History 04

Eye of History 04

Eye of History 04

Etching
A metal plate, normally copper or zinc or steel, is covered with an acid-resistant layer of rosin mixed with wax (this is called the ‘ground’). With a sharp point, the artist draws through this ground, but not into the metal plate. The plate is placed in an acid bath and the acid bites into the metal plate where the drawn lines have exposed it. The waxy ground is cleaned off and the plate is covered in ink, then wiped clean, so that ink is retained only in the etched lines. The plate can then be printed through an etching press. The strength of the etched line depends on the length of time the plate is left in the acid bath.
Etching
Edition of 69
Signed on the front, numbered on the reverse

POA

Sheet size
90 x 91cm
35 7/16 x 25 13/16 inches

Image size




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Eye of History 04
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Details

I've just done a series of paintings of people's irises ...You get an image that is at once incredibly colourful and abstract in a way, but also a complete signifier of identity in the way that DNA is, because an iris doesn't change. You can scan your iris to get into the country now. In the middle you have this black hole, which to me signifies the void and mystery of life. - Marc Quinn continues to explore the theme of nature mediated through human intervention. Science, philosophy, and evolution converge in a time where an individual iris can encompass the world and the world can be seen in one person’s iris.

Additional Information

First Name Marc
Last Name Quinn
Artist Description Born in London (1964), Marc Quinn studied History of Art at Cambridge, subsequently creating sculpture in a challenging range of media. His early series of marble figures of people who have lost their limbs or were born with a disability culminated in a giant statue of a heavily pregnant Alison Lapper, a woman born without arms, on the fourth plinth in Trafalgar Square, London, in 2005. ‘Self’, a sculpture of the artist's head created from his own frozen blood, is equally uncompromising: first exhibited in 1991, there have been several iterations since. In 2014, the film ‘Marc Quinn: Making Waves’ revealed the extent to which Quinn’s work has become globally recognized and collected, coinciding with his preparations for ‘The Toxic Sublime’ at White Cube, Bermondsey, in 2015. More recently, Quinn has had a major installation of his sculpture in ‘Drawn from Life’ at London’s Sir John Soane Museum.
Edition of 69
Ed Date 2013
Inscriptions Signed on the front, numbered on the reverse
Short Technique Etching
Sheet Size 90 x 91cm
Sheet Size (Inches) 35 7/16 x 25 13/16 inches
Image Size No
Image Size (inches) No
Technical Description From a portfolio of 8 colour etchings, printed on 350gsm Hahnemuhle Bright White paper, published by The paragon Press, 2013
Technique Pop ups A metal plate, normally copper or zinc or steel, is covered with an acid-resistant layer of rosin mixed with wax (this is called the ‘ground’). With a sharp point, the artist draws through this ground, but not into the metal plate. The plate is placed in an acid bath and the acid bites into the metal plate where the drawn lines have exposed it. The waxy ground is cleaned off and the plate is covered in ink, then wiped clean, so that ink is retained only in the etched lines. The plate can then be printed through an etching press. The strength of the etched line depends on the length of time the plate is left in the acid bath.
Price on Application Yes
Display Custom Popup No
Custom pop up link Title No
Custom Popup Title No
Custom Pop up Description No

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