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More works by Lorenzo Quinn

Lorenzo Quinn
During Love

Bronze
51 x 70 x 23cm

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A symbol that has become synonymous with Lorenzo Quinn's work is the human hand. "The reason I sculpt the hand is because I need to communicate in a universal language," he claims. Here, two hands come together in tight clutch across a void, forging an emotional connection that represents the passion of love.

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  • +Artist Bio

    Lorenzo Quinn was born in Rome in 1966. Although he was raised in both the United States and Italy, it was in Italy where he discovered his love for art. Quinn can be described as a prodigy in the art world. Lorenzo's work is included in many impressive private collections throughout the world, which has lead to a prodigious amount of commissioned work. This includes being commissioned by the Vatican to sculpt the likeness of Saint Anthony. Many of Lorenzo's sculptures often featured the symbol that has become synonymous with Lorenzo's work - the human hand.  "The reason I sculpt the hand is because I need to communicate in a universal language, especially since I exhibit in five continents. The use of this hand language helps me achieve this, creating a dialogue." Lorenzo seeks inspiration for his sculptures from everyday life and believes art should not be merely decorative but have meaning; transmit emotions, as well as being aesthetically well-balanced.

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  • +Critique

    Pointing to a New Perspective on Life
    Baroness Thyssen-Bornemisza

    Consuelo Císcar Casabán, director of the Instituto Valenciano de Arte Moderno (IVAM), gives her perspective of "You Too", a monumental Lorenzo Quinn installation.

    From the moment I became part of Lorenzo's You Too project, I immediately associated it with a fragment from one of the most representative works of art in its entire history: The Creation of Adam - Michelangelo's Renaissance fresco, which continues to amaze visitors of the Sistine Chapel. As is widely known, this painting represents the biblical episode in Genesis where God with his index finger, gives life to Adam. 

    It is of no surprise that Lorenzo Quinn's colossal sculpture reminds me of that universal scene found in the Vatican. It carries that Renaissance taste for anatomical sophistication, its detail, precision and humanism. At the same time, You Too convincingly invites the spectator to become part of the art and transform himself into a new man. In this respect, this piece, like the work of Michelangelo, also refers to the 'creation' as it inspires a new way of participating and integrating within society. According to Quinn, it is the defiant and provocative index finger that has the most power in the human body. This is due to its capacity to destroy and create and demonstrate love and hate. That is why Quinn uses this reference to capture every aspect of our daily routines. In this context, the artistic statement seeks to generate social activity by offering the visitor a different point of view. 

    You Too is, therefore, an installation that expresses the spirit of participation, democratically integrating social networks and all cultures around the world. This work represents the rise of equality in society, owing much to the new domestic tools we have at our disposal in this digital age of information and knowledge. In this way, this new, inclusive digital era places value on the convergence between aesthetic and intellectual works. For this reason, You Too presents itself as an iconic work of art, which given its dimensions, will point at the visitors entering the museum and create life, just like Michelangelo's deity. Except that on this occasion, life will be created by its relation to art. In my personal view, life and art are integrated in You Too, where people will be enriched by the art and also be able to identify with each other.


    The Corporate of Dreams
    José Luis Lasala, Painter
    Member of the Royal Academy of Arts, Sciences and Letters of Belgium, Corresponding Member of the Royal Academy of Fine Arts of San Luis de Zaragoza

    There has long been a tendency to consider sculpture solely from a formal angle, looking at the technical evolution it has undergone through the centuries rather than the various elements that have informed its history since ancient times. This school of thought, in evidence since the Renaissance but with its roots in classical sculpture, has been the norm by which sculpture has been guided. It has consisted primarily of a hyper-real representation of an object; representing it mostly as an isolated element, or placed within a credible context, or very close to reality. For much of its secular history, sculpture has attempted to idealize man and the world, although both man and world were always immediately recognizable, the aim being to present the onlooker with a tangible reality. 

    Contemporary abstract sculpture has emphasized the same thing, limiting itself exclusively to showing another reality, yet one not essentially different from the formal beauty attempted by the anonymous sculptor of the hieratic figures of Chartres cathedral's west facade, or achieved by Michelangelo with his David, or experienced by Rodin with The Kiss. In the history of sculpture, however, there have been artists who have pursued another discourse more commonly expressed in the world of painting. I refer to all the anonymous medieval sculptors who resorted to the descriptive quality of sculpture to narrate didactically the imposing tension of the final judgments, the horrors of hell and the wonders of paradise. Their sculptures populate the tympanums of innumerable Romanesque and Gothic churches throughout Europe and other corners of the world, and in them poetry carries the same weight as the material in the scale of men's values. Palaces and temples were built in which the sculptor fashioned ideal worlds very differently from the far less beautiful and comfortable everyday reality that was, on the contrary, often horrible. 

    All these artists were capable of realizing the corporeality of dreams, and Lorenzo Quinn belongs to this species of sculptor. It is not that Quinn fails to nurture the formal in his pieces. Neither does he renounce in any way the historical legacy to which he owes his development (I see Donatello as a greater influence than Buonarotti. Nor does he abandon the craftsmanship of his work, resolving the sculptures with a characteristically clean and perfect finish. The fact is that Lorenzo is not content to be an everyday sculptor, but endeavors to go beyond that, propelled by an interior force refined by a mixture of bloods. He places as much value on the dream world inherited from the East as on the Cartesian reason, order and constancy of the West. It all courses through his veins in an explosive mixture that engenders the miracle of his sculptures. 

    A man of strong religious convictions - just like the sculptors of medieval times - Lorenzo Quinn is the interpreter of his own dreams into a language that, in order to be less cryptic, must be completed with a textual appendix which does not attempt to explain the work, but rather becomes a part of it. It is a single and indivisible discourse and it would therefore be absurd to attribute a more prominent role to any one element of it. It is true that a work of art should not be based on rhetoric, nor offer a tedious preface to justify itself, and that is certainly not the case here. 

    The sculptures of Lorenzo Quinn consist of (increasingly diverse) forms and materials, and the titles and lyrical haloes that make up the whole push towards a humanistic utopia in which the artist still believes. The ultimate mission of the sculptor - the man, Lorenzo - the reason he works so diligently in a field that some might trivialize without even trying to understand it, is to help man to evolve a little further through tolerance, understanding and harmony; virtues with which Lorenzo tries to impregnate his work and all his vital acts with. Patrolling utopia, Lorenzo demands that we all participate in the miracle and longs for the communion of the onlooker. His desires are the sole means for attaining that end. This is, he thinks, what will ultimately justify his work, failing to realise in his generosity that were he not to achieve his aim, his art would still be here for us to enjoy, neither realising that this clear goal is far away and will be reached by milestones still to come; milestones that have been set up by the anonymous master of the Saint Foy de Conques tympanum and by Lorenzo himself, among others and for all those who have been capable of giving corporeality to their dreams.


  • +Exhibitions

    2014
    Pinta London - London, UK 
    Scope New York - New York, EEUU 
    Miami Art International - Miami, EEUU
    Art Palm Beach - Miami, EEUU

    2013
    CA´D´ORO ART GALLERY, Miami, EEUU
    Monumental installation, Castelldefels, Barcelona
    Halcyon Gallery “Circle exhibition”, London, United Kingdom 
    Monumental installation Lio Restaurante, Ibiza, Balearic Iland
    Art Monaco´13, Monaco
    Art al Set,  Hermitage Hotel, Soldeu, Andorra

    2012
    Monumental installation, Doha, Qatar
    Rafart Gallery, Almenar, Lleida, Spain (permanent exhibition)

    2011
    MobilArt, International Art Fair, Liége, Belgium
    SOFA Art Fair, New York, United States of America
    Ode to Art Gallery, Singapore
    The Hermitage State Museum, St. Petersburgh, Russia
    Rassegna Internazionale di Scultura di Rome, Rome, Italy
    Biennale di Venezia, International art exhibition,  Venice, Italy
    Westminster´s City Festival of sculptures, London, United Kingdom
    One Hyde Park, monumental installation, London, United Kingdom
    Rafart Gallery, Almenar, Lleida, Spain (permanent exhibition)

    2010
    Ode to Art Gallery, Singapore
    Hewar Art Gallerey, Riyadh, Kingdom of Saudi Arabia
    Rarity Gallery, Mykonos, Greece
    Marigold Fine Art Gallery, Mumbai/New Delhi, India
    IVAM, Instituto Nacional de Arte Moderno de Valencia, Valencia, Spain
    Abudhabi Art Fair, Abudhabi, United Arab Emirates
    Look into the future, monumental installation Sitges, Barcelona, Spain
    Rafart Gallery, Almenar, Lleida – Spain (permanent exhibition)

    2009
    Halcyon Gallery “Equilibrium”, London, United Kingdom
    Rafart Gallery at Art al Set Gallery, Escaldes-Engordany, Principat d’Andorra
    Hewar Art Gallerey, Riyadh, Kingdom of Saudi Arabia
    Rarity Gallery, Mykonos, Greece
    Marigold Fine Art Gallery, Mumbai/New Delhi, India
    Rafart Gallery, Council of  Praga, Praga, Spain
    Art People Gallery, San Francisco, United States of America
    21st century Leaders organisation, Doha, Qatar
    Rafart Gallery, Almenar, Lleida, Spain (permanent exhibition)

    2008
    Belvedere Gallery, monumental installations in Marina Barrage complex, Singapore
    Rafart Gallery at Gabriel Vanrell Galeria D’Art, Mallorca, Balearic Islands, Spain
    Rafart Gallery at Galeria de Arte Pilar Ginés, Zaragoza, Spain
    Halcyon Gallery,‘Evolution’, London, United Kingdom
    Rafart Gallery, Almenar, Lleida, Spain (permanent exhibition)

    2007
    Art for Food ‘World Economic Forum’, Davos, Switzerland
    Rafart Gallery,  Lorenzo Quinn sculptures, Valle de Arán, Spain
    Galeria d´Art El Claustre, Girona, Spain
    Lorenzo Quinn sculptures, ‘Fonda del Nastasi’, Lleida, Spain
    Ibercaja Exhibition hall, Valencia, Spain
    Installation of ‘El Legado’, Plaza de la Vila, St.Climent de Llobregat, Spain
    Holland Art Fair – Vazquez Kunst,  The Hague, Holland
    Ibercaja Exhibition hall,  La Rioja, Logroño, Spain
    Ibercaja Exhibition hall, Ibercaja, Huesca, Spain
    Masters Art Galleries, Barcelona, Spain
    World Gallery, Sitges, Barcelona, Spain

    2005
    Halcyon Gallery, Bruton Street, London, United Kingdom
    ASPIRE, Academy for Sports Excellence, monumental installation, Doha, Qatar
    Galeria de Arte Sammer – Lanzarote, Marina Rubicon, Lanzarota, Spain
    El Solell de Santa Agnes, Santa Agnes de Malanyanes, Barcelona, Spain
    Galeria de Arte Sammer, Puerto Banús, Marbella, Spain

    2004
    O.N.C.E – Museo Tiflológico, Madrid, Spain
    Galerie Liehrmann, Liége, Belgium
    Galerie D´Art Joël Dupuis, Hardelot, France
    Nerinqund Stern Gallery, Berlin, Germany
    Galeria El Claustre, Figueres, Girona, Spain
    Galeria Es Moli, Ibiza, Spain
    Instituto Veracruzano de la Cultura, Cultural Center Casa principal, Veracruz, Mexico
    L´Heura Tarragona  ’Inici de L´infinit’ Foundation, Pati del Palau de la Diputació, Tarragona, Spain
    Halcyon Gallery, London, United Kingdom
    St. Climent´s Town Hall, St. Climent, Barcelona, Spain 

    2003
    The Bull Fair, Santarem, Portugal
    Halcyon Gallery, ‘Values’, London, United Kingdom
    Galería El Claustre, Girona, Spain
    Halcyon Gallery, International convention Centre, Birmingham, United Kingdom
    World gallery, Sitges, Barcelona, Spain
    Galeria Can Janer, Inca, Palma de Mallorca, Spain
    Art Expo Art Fair, Barcelona, Spain

    2002
    World Gallery, Sitges, Spain
    Sala Audiforum, Madrid, Spain
    Art Exhibition Hall, Dubai Media City, Dubai, United Araba Emirates
    Galerie Schaer und Wildbolz,  Solothurn, Switzerland
    Galería Es Molí, Ibiza, Spain
    Halcyon Gallery, Selfridges London, United Kingdom

    2001
    Halcyon Gallery, Birmingham, United Kingdom
    World gallery, Sitges, Spain
    De Arte, Madrid, Spain
    TEFAF 2001, Maastricht, Hollland
    ArTrade, Maastricht, Hollland
    Maison de l’Amerique Latine, Monaco
    Galeria Es Moli, Ibiza, Spain
    Liehrmann Galerie, Liege, Belgium
    Credit Foncier, Montecarlo, Monaco
    Credit Foncier, Cannes, France
    Halcyon Gallery, London, United Kingdom

    2000
    Exhibition Hall ‘Crèdit Andorrà’, Andorra
    Modern Art Museum, Hong Kong, China
    Espai Cultural Pere Pruna, Barcelona, Spain
    Castelldefels Town Hall, Barcelona, Spain
    Galeria Echeberria, San Sebastián, Spain
    World gallery, Sitges, Spain
    Galerie Jedlitschka, Fedjuschin, Switzerland
    Veranneman Foundation, Kruishoutem, Belgium
    ‘Art and Image’, Cannes, France
    ARCO 2000, Madrid, Spain
    Galeria Fons d´Art, Olot, Spain


  • +Publications

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