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Leslie Sacks Contemporary is pleased to announce an exh ibition of Marc Quinn’s 2007 suite Portraits of Landsc apes. The series features eigh t color pigment prints\, each measuring 39 3/8 x 29 1/2 inches from an edit ion of 59. The imagery is a highly rendered grouping of fruit and flowers in full bloom\, which relates to rec urring motifs in Quinn’s work.

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The Portraits of Landscapes seri es references Quinn’s momentous 2000 installation Garden as well as his ensuing Eternal Spring sculptures and flower paintings. Garden\, originally installed at the Fondazione Prada\, Milan\, featured cryogenically froze n plants captured at the peak of th eir beauty and suspended in their lifecycle. Quinn has stated that he was i nspired to create the piece when vi siting a flower market\, where all types of foliage from around the world c an be purchased in a single place. Flowers that would never exist in the same climate or blossom at the same time of year now sit alongside one a nother\; they are a symbol of how “human desire constantly reshapes nature’s limitations” and offer the perfec t metaphor for Quinn’s exploration of the natural versus the artificial.

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For the print series Portraits of Landscapes\, Quinn has re-appropriated imagery from his flower paintings and presented the visuals in a new format. By switching media from painting (large horizontal “landscapes”) to a blown-up portion of a pai nting (small vertical “portraits”)\, he plays even further with the ideas of preservation and manipulation. In the work’s new incarnation\, Quinn examines in greater detail the exotic\, tactile shapes of tropical plants and gleaming\, fleshy surfaces of ripe fruit. Swaths of bright\, saturated colors—symbols of youth—and the ero tic interplay of forms take center stage\, pulling theviewer up-close into a rich and lusty garden of paradise .

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In many of the pieces\, delicate drops of snow can be seen lightly spr inkled over the fruit and flowers. This detail is a nod to the cryogenically frozen Garden installation. The w ork remarks on the transience of li fe and speaks to Quinn’s fascination with the inherent human desire to halt  time. Contemporary culture’s obses sion with preserving youth and beauty\, often through unnatural means\, contains a certain perverseness that i s of interest to the artist. Quinn’s flowers are immortalized at the moment of full bloom\, and are seemingly full of warmth and exotic sensualit y. Yet the vibrant colors and voluptuous forms are deceptive\; they mask th e fact that the flowers are frozen and no longer living—are dead\, but can’t decay.

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Marc Quinn is part of t he Young British Artists (YBAs) movement. The group\, which includes
fellow artists Damien Hirst and Trac y Emin\, gained notoriety in the 1990s for creating work with tremendous shock value. Quinn’s work Self was sh own as part of “Sensation\,” a 1997 exhibition curated by the influential collector Charles Saatchi. Self\, an ongoing self-portrait of the artist made from his own frozen blood\, elicited worldwide attention. Quinn has continued to explore themes about a ging\, the passage of time and ideals of beauty throughout his career.

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M arc Quinn has exhibited in numerous significant international exhibitions\, including at the 50th Venice Biennale in 2003. He has had solo shows at Tate Gallery\, London and Tate\, Live rpool\; Kunstverein\, Hannover\; Fondazione Prada\, Milan\; Irish Museum of Modern Art\, Dublin\; Groninger Mu seum\, Groningen\; MACRO\, Rome\; DHC/ART Fondation pour l’art contemporain\, Montréal\; and Fondation Beyeler \, Basel. His work is included in the Tate’s permanent collection. DTEND:20130413 DTSTAMP:20140921T223025 DTSTART:20130302 GEO:34.0276049;-118.4678444 LOCATION:Leslie Sacks Contemporary\,Bergamot Station 2525 Michigan Ave.\, B 6\nSanta Monica\, CA 90404 SEQUENCE:0 SUMMARY:Portraits of Landscapes\, Marc Quinn UID:260315 END:VEVENT END:VCALENDAR