Following his pivotal 2000 sculpture, Garden, a 7 meter tank filled with 1000 flowers unnaturally presevered in frozen silicone, Quinn’s latest paintings enchant with glaciated perfection. Set against backdrops of crystallised ice, blossoms of the most exotic and alluring varieties unfold with almost lewd sensual relish, simultaneously virginal and tainted. Taking representational purity to ostentatious extremes, Quinn’s pristine floras proffer immaculate obscenity, their hyper-real image and simulated hues expounding virtual toxicity. Quinn’s paintings set the stage for baroque reverie, merging carnal desire with divine transcendence, forging a contemporary spiritualism of media, celebrity, and fashion.
His recent Kate Moss sculptures pose super-model as yogi-Buddha, emaciated, contorted, and deformed; a waif goddess bestowing the blessings of vacuous malnourished serenity, tranquillity in angelic grotesquery. Coupled with larger sculptures, a cherub and floral still-life exquisitely executed in bronze, his works become infused with classicism’s timeless authority: the fragility of nature and youth made eternal, immortal, undead.
Quinn’s practice poignantly articulates the liminal spaces between life and death, the physical and metaphysical, supreme beauty and silent unnameable horror. Through the meticulous presentation, materiality, and detail of his works, the pinnacles of artistry become conveyors of vanitas, bridging the gulf between unattainable desire and longing and its luxurious, bitter sweet sublimation.