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Marc QuinnArchival Screen Print with Silver Leaf, 'Raw Earth' Iris, 20232023
2023
About the Item
'Raw Earth' Iris with Silver Leaf is a silkscreen print on paper created in 2023 by Marc Quinn. This signed print is an exclusive Edition of 50, signed by the Artist on front, numbered on verso, number #16 of edition. The custom framed dimensions measure: 41.5 x 41.5 x 2 in. / 105.4 x 105.4 x 5.1 cm. Published by Manifold Editions, 2023.
The Iris paintings reflect the fact that, in the age of the internet, the visual sense dominates our perception of the world. The eye is traditionally seen as a mirror of the soul but it is also a kind of microscopic map of an individual's identity, since each person's is unique. In these works, Quinn depicts an iris at close range, in a photorealist, non-expressive way on a round canvas. The eye is enlarged so that it appears virtually abstract and the pupil appears like a aperture or hole in the centre of a fine, detailed network of colourful lines. Quinn was interested in the idea of making ‘stealth’ portraits of people, at once universal and unique, and not just an image of the sitter, but an actual visual index of their identity. The artist observes: "The etymology of 'iris' is derived from the Greek word for 'rainbow'. And in the colours, even in quite subtle, dark colours, there is a kind of celebration of individuality." Furthermore, "in the middle you have that black hole of the pupil [and] all of the mystery and uncertainty of life. It’s a very profound expression of the ambiguity which is at the heart of our existence. "Also of interest about the eye is its position as the only internal organ you can see from the outside, as Quinn remarks: "The iris is in a way our doorway to the world, it is the window we see out of and the doorway for light to enter and interact with our nervous system. They are like a leakage of the vivid interior world of the body to the monochrome world of the skin." In the works Map of Where You Can't See the Stars and Eye of History, Quinn has added a world map over the image of the eye. These works comment on the paranoid world we live in, and the notion of 24 hour news where the whole world is connected through ever-present media and syncopate this with notions of our eroding and changing geographical world. They present images of the world map from various perspectives – such as the Arctic – displaying how the boundaries of experience and geographical territory as we know them are rapidly changing.
- Creator:Marc Quinn (1964, British)
- Creation Year:2023
- Dimensions:Height: 41.5 in (105.41 cm)Width: 41.5 in (105.41 cm)Depth: 2 in (5.08 cm)
- More Editions & Sizes:Edition of 50Price: $9,500
- Medium:
- Movement & Style:
- Period:
- Framing:Frame IncludedFraming Options Available
- Condition:
- Gallery Location:New York, NY
- Reference Number:1stDibs: LU835116210602
Marc Quinn
Contemporary artist Marc Quinn was born in London in 1964 and is known as one of the founding figures of the 1990s British contemporary art movement, alongside artist Damien Hirst. His work includes sculpture, installation and painting and explores “what it is to be human in the world today” through subjects that include the body, genetics, identity, environment, and the media. Quinn graduated from Cambridge University in 1984 and had his first solo show in 1988 at the Jay Jopling/Otis Gallery in London. Quinn was selected for the Sydney Biennale in 1992, and was represented in Young British Artists II at the Saatchi Gallery in 1993, and Time Machine at the British Museum in 1994. He participated in Thinking Print at the Museum of Modern Art, New York in 1996 and Sensation at the Royal Academy, London in 1997. He had a solo show at the South London Gallery, Camberwell, London in 1998. Self (1991, Saatchi Collection, London) is a self-portrait head made from his own frozen blood, and was first exhibited in 1991 at the Jay Jopling/Grob Gallery and then at the Saatchi Gallery in 1992. At the Tate Gallery in 1995, Quinn showed Emotional Detox: The Seven Deadly Sins, a group of seven lead casts of parts of his body which were made using the lost wax method. Quinn prefers to use his body as a primary source because it is free from the associations of implied relationships: 'the self is what one knows best and least at the same time ... casting the body gives one an opportunity to "see" the self' (conversation with Sean Rainbird, Tate Gallery, 1995).
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