Quinn's ethereal and fragmentary works are placed among the multiple antique casts and sculptures that make up the museum's permanent collection.
Known for his provocative sculptures, from a self-portrait made from his own frozen blood to a gold statue of Kate Moss practicing yoga, Mark Quinn’s work often suggests a discourse with the zeitgeist, offering big and bold reflections on the modern world and our place within it.
His 2005 work Alison Lapper Pregnant, which sat atop the fourth plinth in Trafalgar Square, brought issues of body image, disability and sexuality into public view, and many subsequent works have traded on their scale in order to evoke a reaction. Quinn is fascinated by the connection between the mass of an object and its presence within mass culture.
This idea is evident in the even larger, inflatable version of the Lapper piece that he made for the opening of the London 2012 Paralympic Games, and in the 10-metre long, milk-white bronze sculpture of his infant son, called simply Planet.
It’s in the somewhat incongruous setting of the Sir John Soane’s Museum that Quinn’s latest work now finds itself. This new exhibition features a series of fragmentary sculptures, created from casts of the artist and his partner, scattered among the antique artefacts that comprise the museum’s permanent collection.
The first such show by a contemporary artist at the venue, these bodily fragments showcase Quinn’s work on a smaller and more intimate scale, adopting the form and iconography of historical objects and revealing their connection with our lives today.