Marc Quinn (b. 1964)
Cylindrical Core Region
signed, titled and dated 'Marc Quinn 2007 Cylindrical Core region' (on the reverse)
oil on canvas
6634 x 10778in. (169.5 x 274cm.)
Painted in 2007
Project B Gallery, Milan.
Acquired from the above by the present owner in 2007.
Special notice
Artist's Resale Right ("Droit de Suite"). Artist's Resale Right Regulations 2006 apply to this lot, the buyer agrees to pay us an amount equal to the resale royalty provided for in those Regulations, and we undertake to the buyer to pay such amount to the artist's collection agent.
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Lot Essay

On a large canvas, a fertile orchid expands ravenously while vivid reds and creeping purples bloom in Marc Quinn’s Cylindrical Core Region, 2007. The work is part of a series which Quinn began in 2005, which grew out of his fascination with the evanescence of sublime beauty. To make each hyperrealist composition, Quinn arranged vivid blossoms, and then photographed the composition; the printed image was used as source material for the final painting. As he purchased all the plants from local shops, the paintings depict fantastical combinations of flowers that would never grow together naturally; these are impossible moments rendered in brilliant colour. Thematically, the series looks to the long history of the still life genre, linking Cylindrical Core Region to the brightly coloured works of artists such as Vincent van Gogh, Claude Monet, and, particularly, Georgia O’Keefe. Like O’Keefe’s viscerally feminine paintings, Quinn’s Cylindrical Core Region is similarly fleshy and physical. The densely rich closeup is baroque and sumptuous, but with its overt meditation on temporality, the painting is perhaps most closely aligned to the vanitas of the Dutch Golden Age, in which flowers symbolised the ephemerality of life. By interrogating the relationship between beauty and its degradation, Quinn’s art embraces an unfolding transformation, and Cylindrical Core Region is evidence of such a paradox: although beautifully open and vibrant, the flowers are, in fact, already dead. Transformed by the many layers of representation, the final painting depicts the suspended time of an artificial world.

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