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Marc Quinn
'The ‘toposphere' sits at the interface of the pedosphere, atmosphere, and hydrosphere'. - Marc Quinn The richly punning title not only evokes the life-giving atmospheric layer surrounding the planet, but also the Greek word meaning both place and theme, and the 3rd-century Greek symbolic concept of life emanating from the centre, in a series of concentric spheres. Quinn's original 2009 Iris paintings were subtitled 'We share our chemistry with the stars', and the Iris series reflects his abiding theme in his work that, as humans, we are materially connected to everything else, extending to the universe itself. Quinn chose a digital printing technique for this piece to achieve its vibrant and varying high-definition colours. Each image is printed on 330gsm Somerset Satin Enhanced paper, and hand-finished with a silkscreen printed glaze.
Technique
Digital print with silkscreen glaze. Printed on 330gsm Somerset Satin Enhanced paper. Published by Manifold Editions 2014.

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

TopoSphere

TopoSphere

TopoSphere

Digital print
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
Edition of 65
Signed & titled on the front, numbered on the reverse

POA

Sheet size
104 x 102cm
40¾ x 40¼ in

Image size
n/a
n/a


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'The ‘toposphere' sits at the interface of the pedosphere, atmosphere, and hydrosphere'. - Marc Quinn The richly punning title not only evokes the life-giving atmospheric layer surrounding the planet, but also the Greek word meaning both place and theme, and the 3rd-century Greek symbolic concept of life emanating from the centre, in a series of concentric spheres. Quinn's original 2009 Iris paintings were subtitled 'We share our chemistry with the stars', and the Iris series reflects his abiding theme in his work that, as humans, we are materially connected to everything else, extending to the universe itself. Quinn chose a digital printing technique for this piece to achieve its vibrant and varying high-definition colours. Each image is printed on 330gsm Somerset Satin Enhanced paper, and hand-finished with a silkscreen printed glaze.

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 65
Ed Date 2014
Inscriptions Signed & titled on the front, numbered on the reverse
Short Technique Digital print
Sheet Size 104 x 102cm
Sheet Size (Inches) 40¾ x 40¼ in
Image Size n/a
Image Size (inches) n/a
Technical Description Digital print with silkscreen glaze. Printed on 330gsm Somerset Satin Enhanced paper. Published by Manifold Editions 2014.
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 Yes
Display Custom Popup No
Custom pop up link Title No
Custom Popup Title No
Custom Pop up Description No

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