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Marc Quinn

This series of three prints is inspired by Marc Quinn’s Labyrinth paintings, which explore the idea of contemporary surveillance culture, where individual identity is reduced to a fingerprint. Quinn commented, ‘we [have] become encoded into a unique abstraction, which is also profoundly figurative.’ Marc Quinn has continued to be interested in the concept of identity throughout his career, perhaps most famously with his ‘Self’ (1991) self-portrait, as well as his iris works and DNA series. The artist is fascinated by the idea of making portraits of people that are more than just an image of them – here is an actual visual index of their identity. 


Technique

Digital print with screen-printed spot glaze. Printed on Hähnemule Photo Rag 550 gsm paper. Published by Manifold Editions, 2018. 



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

£1,080.00

Prismatic Labyrinth (354 U)

Prismatic Labyrinth 354 U

Prismatic Labyrinth (354 U)

Digital print with screen-printed spot glaze
The principle behind ink-jet printing was established over 100 years ago. Recent developments in piezoelectric technology have resulted in increasingly high-resolution colour prints. When subjected to an electrical charge, the piezoelectric crystal expands, forcing ink through an array of microscopic holes onto the surface of the paper or other surface. The resolution of the print is significantly enhanced if the paper is coated with an impermeable layer to keep the droplet on the surface. Until recently, ink-jet printers could only use dye inks, but improvements to the ink and print heads are resulting in pigment inks. These have reduced colour range but increased life-expectancy.
Digital print with screen-printed spot glaze
Edition of 60
Signed by the artist on the front, numbered on the reverse

£1,080.00

Sheet size
70.4 x 50.2 cm
27 1/2 x 19 3/4 in

Image size


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Prismatic Labyrinth (354 U)
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Details

This series of three prints is inspired by Marc Quinn’s Labyrinth paintings, which explore the idea of contemporary surveillance culture, where individual identity is reduced to a fingerprint. Quinn commented, ‘we [have] become encoded into a unique abstraction, which is also profoundly figurative.’ Marc Quinn has continued to be interested in the concept of identity throughout his career, perhaps most famously with his ‘Self’ (1991) self-portrait, as well as his iris works and DNA series. The artist is fascinated by the idea of making portraits of people that are more than just an image of them – here is an actual visual index of their identity. 

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 60
Ed Date 2018
Inscriptions Signed by the artist on the front, numbered on the reverse
Short Technique Digital print with screen-printed spot glaze
Sheet Size 70.4 x 50.2 cm
Sheet Size (Inches) 27 1/2 x 19 3/4 in
Image Size No
Image Size (inches) No
Technical Description

Digital print with screen-printed spot glaze. Printed on Hähnemule Photo Rag 550 gsm paper. Published by Manifold Editions, 2018. 

Technique Pop ups The principle behind ink-jet printing was established over 100 years ago. Recent developments in piezoelectric technology have resulted in increasingly high-resolution colour prints. When subjected to an electrical charge, the piezoelectric crystal expands, forcing ink through an array of microscopic holes onto the surface of the paper or other surface. The resolution of the print is significantly enhanced if the paper is coated with an impermeable layer to keep the droplet on the surface. Until recently, ink-jet printers could only use dye inks, but improvements to the ink and print heads are resulting in pigment inks. These have reduced colour range but increased life-expectancy.
Price on Application No
Display Custom Popup No
Custom pop up link Title No
Custom Popup Title No
Custom Pop up Description No

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