Lorenzo Quinn

Continuum by Lorenzo Quinn
With You by Lorenzo Quinn
I Give You My Soul by Lorenzo Quinn
Eternum by Lorenzo Quinn
Creation by Lorenzo Quinn
Book - 2008 by Lorenzo Quinn
Gravity by Lorenzo Quinn
Tension by Lorenzo Quinn
Give & Take III (Bronze Plated Resin) by Lorenzo Quinn
Give & Take III (Silver Plated Resin) by Lorenzo Quinn
Decisions by Lorenzo Quinn
In Perspective by Lorenzo Quinn
You Can't Eat Gold by Lorenzo Quinn
The Kiss by Lorenzo Quinn
Born in Rome, Lorenzo Quinn is the son of film legend, Anthony Quinn and he himself started out as an actor, before turning his attentions to art; and in his particular case, the art of sculpture. Quinn’s upbringing took in – and was flavoured – by both Italy and America, however he’s established his own roots in Barcelona, Spain, and from where his sculpting base is located. Unsurprisingly, it was whilst family life was centred in Rome as a youngster that his love of and appetite for art first saw the light of day, which led to Quinn studying painting at New York’s Academy of Fine Arts in 1982. Yet in spite of his yearning for art, Quinn was inherently drawn toward acting too, which wrestled for his main fulcrum of attention during his formative years. The acclaimed sculptor even starred opposite his iconic father in the big screen adaptation of violin maker, Stradivari’s story, during his early acting career; however it was his role of Salvador Dali later that proved the pivotal moment in Quinn’s choice of long-term career.

Quinn was a huge admirer of the surrealist’s work, something which could clearly be seen in the film, and which resulted in the promising young actor receiving the Best New Actor award in 1992 at that year’s Biarritz Film Festival. Of course this would serve as the deal sealer to many still undecided about which direction to take their lives professionally, yet to Quinn’s mind it underlined the one clear option. By taking on the role of Dali this had inadvertently inspired Quinn still further, and subconsciously helped him arrive at his decision to bring his short-lived thespian pursuits to a close and instead focus on the contemporary art world. Although he embarked on his professional art journey as a painter, it didn’t take Quinn long before he changed tack on account of brushwork and canvas not offering him the necessary depth to convey his art in the way he envisages it. With that in mind, Quinn settled on the idea of sculpting, which in his opinion allowed him the freedom of expression that only a third dimension could offer.

Artists as we know aren’t known universally for their adhering to convention, and Quinn definitely doesn’t buck that trend as he explains how he approaches the creative process. And it’s via the written word. As opposed to roughing out thumbnails of a concept residing in his conscience, Quinn instead gets himself in the zone so to speak by writing down what he sees, feels and believes will formulate when he actually gets down to the business of sculpting. And we’re not talking about a series of bullet-points or shorthand either. Poems, prose and other forms of literature are the creative weapons of choice for Quinn as he sets about defining his vision on paper. This blueprint is then used as a creative dot-to-dot to follow, which eventually leads to the finished 3-D article; once Quinn’s completed a scale replica.

Once up and running, Quinn’s skill-set and reputation for originating and producing ornate, informed and structurally pure sculptures spread like wildfire, winning him commissions from all manner of quarters. He was at one point invited by the United Nations no less to submit a stamp design which saw production, whilst Quinn’s work was also used at the vanguard of Absolut Vodka’s advertising campaign. From the sublime to the cor blimey in many respects, yet this was only the precursor to what was waiting around the corner and events which would ultimately put Quinn’s name as an in-demand sculptor in flashing neon lights.

Quinn was approached by representatives from the Vatican and asked to tender a sculpture design to honour Saint Anthony, which Quinn duly obliged and his piece later being blessed by Pope John Paul II in St. Peter’s Square. This paved the way for invites galore, as Quinn’s sculpting star rose prominently. Obviously – and with due respect to Birmingham – the commission for their ‘Tree of Life’ wasn’t quite up there with Saint Anthony in terms of headline acts, but nevertheless the sentiment behind it was incomparable, being that it was designed to commemorate the city’s fallen servicemen and women of World War II air raids. Likewise, Quinn’s ‘Living Sculpture’ was a gift to the denizens of Spanish city, Sant Climent de Llobregat, whilst ‘Encounters’ was commissioned by Fundatur and bequeathed to the city of Mallorca in 2003. The diversity of Quinn’s work was monumental in itself, with the sculptor also being asked to design the ‘ride the World’ trophy for the MOTO GP Championships, while a team assembled by Quinn entered the Lower Manhattan Development Corporation’s competition to design a living work of art that would encapsulate the spirit and eternally respect the memories of those souls lost in the September 11th terrorist attacks on the World Trade Centre in the heart of New York’s financial district.

Quinn’s latest project sees him integrally involved in ‘The Globe of Life’, which is an artistic medium-spanning collaboration that seeks to bring together the fabled hundred junctures in history perceived to be the most important from a religious, biological, cultural or technological perspective. Quinn himself has been asked to submit five huge bronze sculptures, formed in individual globes measuring some 33ft in diameter, which comprise of two outstretched hands, pointing towards the heavens. History, evolution and the portrayal of mankind itself will be portrayed through this universal celebration of time and lifespans, and in Quinn’s case rekindles his career-encompassing relationship with the positioning of the human hand at the centre of much of his collective works. This obsession with hands is best described by the sculptor himself who says; “The hand holds so much power – the power to love, to hate, to create, to destroy. I have injected a lifetime of experience into Evolution; it is about my past, present and future”.

Reflecting on Quinn’s exhibition works and other public showcases, galleries and museums across the globe have displayed and promoted his works to date, with one notable example springing to mind. That being Quinn’s ‘Equilibrium’ exhibition that introduced art lovers, collector and critics alike to some monumental sculptures, which witnessed the unveiling of several previously unseen pieces including; ‘What Came First?’ (male and female forms lying in egg-shaped hemispheres) and ‘Home Sweet Home’ (a marble woman entrapped in barbed wire) being two of the stand-out studies displayed in public for the first time.

View All Art Works By Lorenzo Quinn