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Marc Quinn
'This is not a portrait of a person, it's a portrait of an image twisted by our collective desires' ... Marc Quinn's intricately detailed digital print of his 1996 iconic sculpture of supermodel Kate Moss depicts her unearthly beauty, but shows her limbs contorted in an extreme yoga pose, a reflection on the distortions of global media. Quinn chose the digital print process for the image of Kate as it accentuates the colours and shades of the image, the raw material of diamond dusk is an amazing contrast to the clean, detailed and sharp image of Kate Moss.

The artwork was created specially for Wallpaper* magazine’s annual Handmade exhibition in April in Milan, a showcase of unique pieces by leading designers, artists and international brands, all commissioned by the magazine’s editors. The full story of the exhibition is told in Wallpaper* magazine’s August issue, out now.
Technique
Digital print with silkscreen glaze and diamond dust. Printed on 330gsm Somerset Satin Enhanced paper. Published by Manifold Editions 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.

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POA

Stealth Kate

Stealth Kate

Stealth Kate

Digital print with diamond dust
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. Diamond Dusk is sprinkled evenly by hand. The artwork was created specially for Wallpaper* magazine’s annual Handmade exhibition in April in Milan, a showcase of unique pieces by leading designers, artists and international brands, all commissioned by the magazine’s editors. The full story of the exhibition is told in Wallpaper* magazine’s August issue, out now.
Digital print with diamond dust
Edition of 75
Signed, titled and numbered on the front

POA

Sheet size
92.5 x 71cm
36.35 x 27.9 inches

Image size




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Stealth Kate
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'This is not a portrait of a person, it's a portrait of an image twisted by our collective desires' ... Marc Quinn's intricately detailed digital print of his 1996 iconic sculpture of supermodel Kate Moss depicts her unearthly beauty, but shows her limbs contorted in an extreme yoga pose, a reflection on the distortions of global media. Quinn chose the digital print process for the image of Kate as it accentuates the colours and shades of the image, the raw material of diamond dusk is an amazing contrast to the clean, detailed and sharp image of Kate Moss.

The artwork was created specially for Wallpaper* magazine’s annual Handmade exhibition in April in Milan, a showcase of unique pieces by leading designers, artists and international brands, all commissioned by the magazine’s editors. The full story of the exhibition is told in Wallpaper* magazine’s August issue, out now.

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 75
Ed Date 2013
Inscriptions Signed, titled and numbered on the front
Short Technique Digital print with diamond dust
Sheet Size 92.5 x 71cm
Sheet Size (Inches) 36.35 x 27.9 inches
Image Size No
Image Size (inches) No
Technical Description Digital print with silkscreen glaze and diamond dust. Printed on 330gsm Somerset Satin Enhanced paper. Published by Manifold Editions 2013.
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. Diamond Dusk is sprinkled evenly by hand. The artwork was created specially for Wallpaper* magazine’s annual Handmade exhibition in April in Milan, a showcase of unique pieces by leading designers, artists and international brands, all commissioned by the magazine’s editors. The full story of the exhibition is told in Wallpaper* magazine’s August issue, out now.
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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