Marc Quinn was born in London in 1964. He read History of Art at Cambridge University from 1982 to 1985 and began working as a sculptor in 1984. Quinn currently lives and works in London.
Quinn has exhibited internationally including solo exhibitions at the Tate Gallery (1995); Kunstverein Hannover (1999); Fondazione Prada (2000); MACRO (2006); Foundation Beyeler (2009) and group exhibitions at the Victoria & Albert Museum (2001); Statements 7, 50th Venice Biennale (2003); Gwanju Biennale (2004). Recent solo exhibitions include: Marc Quinn: Frozen Waves, Broken Sublimes, Somerset House; The Toxic Sublime, The White Cube; History Painting, BOX, Berlin; Violence and Serenity, CAC (Centro de Arte Contemporáneo), Málaga (2015); The Sleep of Reason (Aklın Uykusu), ARTER Space for Art, Istanbul; Held by Desire, White Cube Limited, Hong Kong (2014); Marc Quinn (Fondazione Giorgio Cini), Fondazione Giorgio Cini, Venice; All the Time in the World, Mary Boone Gallery, New York (2013); Big Wheel Keeps on Turning, Multimedia Art Museum, Moscow; The Littoral Zone, Musée Océanographique de Monaco; Brave New World, Galerie Thaddaeus Ropac, Salzburg; Marc Quinn: All of Nature Flows Through Us, Kunsten - Museum of Modern Art Aalborg, Denmark (2012); Marc Quinn: All of Nature Flows Through Us, Kistefos-Museet, Norway (2011); Allanah, Buck, Catman, Chelsea, Michael, Pamela & Thomas; Marc Quinn (Goss-Michael Foundation), The Goss-Michael Foundation, Dallas (2010); Iris, Mary Boone Gallery, New York; Selfs, Beyeler Foundation, Riehen / Basel; Materialise Dematerialise, Galerie Thaddaeus Ropac, Salzburg (2009)
Often associated with the YBAs or Young British Artists, Marc Quinn’s work has long been concerned with the human body and its composition. Quinn became well known for Self (1991); a cast of the artist’s head made from 4.5 litres of his own blood. Human imperfection has also attracted Quinn as a subject. He has produced a series of sculptures of people without limbs. Reminiscent of classical Greek and Roman sculptures, these were carved in flawless white marble to the exact likeness of the sitters, who were either deformed in the womb or through accident, war or illness. Ever combining scientific procedures with art Quinn’s work has developed to include themes of genetic modification and hybridisation. In addition to this he has frozen flowers and plants in silicone, preserving each as a perfect specimen, but freezing their development at the same time. It is not accidental that beauty and death are present in these works simultaneously.