Legend Spotted: Marc Quinn At Waddington Custot Dubai

by Sophie She

Legend Spotted: Marc Quinn At Waddington Custot Dubai

4 Dec 2024

Photo: Ismail Noor / Seeing Things

Renowned British contemporary artist Marc Quinn, celebrated for redefining the boundaries of modern art since the 1990s, invites viewers to explore humanity's intricate connection to nature in his latest solo exhibition, Photosynthetic Forms, at Waddington Custot Dubai. Known for iconic works such as Self, a self-portrait sculpted in frozen blood, and Alison Lapper Pregnant, prominently displayed on Trafalgar Square's Fourth Plinth, Quinn continues to probe themes of identity, nature, and human transformation.

Running from November 26, 2024, to January 31, 2025, Photosynthetic Forms reflects Quinn’s fascination with the interplay of control and coexistence within humanity’s relationship with nature. Showcasing sculptures inspired by bonsai trees, orchids, and palms, the exhibition examines how human intervention shapes nature, often for pleasure or utility.

Highlights include Held by Desire (Cloud Garden), a bronze bonsai sculpture encapsulating human influence on natural forms, and mirrored stainless-steel works like Light into Life, which act as “analogue screens,” reflecting viewers and their surroundings.

Quinn also delves into the impact of technology on our perception of nature with his NATURENOW series, blending the digital and real through fractured-glass overlays of natural imagery. The exhibition underscores the essential, often paradoxical ties between humans and their environment, presenting plants as both a metaphor for human desires and a reminder of our shared history with the natural world.

Instagram: @marcquinnart

— The exhibition at the Waddington Custot Dubai is about the relationship between humankind and nature and how they interact. Can you describe your own connection to nature?

— My connection to nature is the same as everyone else's — I am a human being. Quite often, you forget that you are part of nature because we live in cities. The relationship we have with nature is both completely assumed and constantly changing. It is a paradoxical and complex relationship because we are part of nature and live in it, but we are also destroying and preserving it at the same time.

— Do you remember when you were a child — did you have any special interest in forests or nature?

— I was very much into being outside all the time as a kid. I played outside in fields and forests. Later, I began to spend all my time in cities, so there has always been a pull between those two sides.

— Do you have any favourite plants, forests, or parks from around the world?

— Not really. I am interested in many different plants for different reasons. This show actually grew out of the one I did at the Royal Botanical Gardens at Kew [Richmond, London, the United Kingdom]. I worked with scientists and horticulturalists there, looking at everything from palms to orchids to dried pressed flowers from the herbarium.

Trees are a significant focus for me too, and I have done many tree sculptures. The bonsai sculptures in particular explore our relationship to nature. Bonsai trees are like little dollhouses — a tiny, controlled part of the world that makes us feel happy. But, in reality, nature is often out of control.

Photo: Ismail Noor / Seeing Things

— You work with various materials like bronze, stainless steel, and mirrors. What role do your materials play?

— The materials are always different. The mirrors, for instance, came from observing how we spend so much time on screens now. Screens disembody us, taking us elsewhere in the world. I wanted to create a sort of analogue screen that re-embodies you. A mirrored sculpture works like a screen, but you see yourself and your surroundings in the present moment. Outdoors, these sculptures reflect the environment, embedding you within it. They act as "be-here-now" screens, a continuous analogue alternative to digital screens, connecting time and space with the sculptures.

— Can you tell me more about the tree and plants’ sculptures that have various fruits growing on them?

— These sculptures are part of a series called "The Nurseries of El Dorado." I cast different flowers and plant parts, collaging them into impossible plants. Although these sculptures are obviously unreal, their elements are cast from real objects, so they feel authentic. This concept led to the bonsai tree sculptures, which explore similar themes. They will be featured at Waddington Custot Dubai too.

— How cool would it be if orchids could grow tomatoes?

— It may be entirely possible in the future with genetic modification. For instance, you can already have a tree with multiple citrus fruits by grafting. This process inspired some of my earlier works, which explore genetic modification. While grafting isn’t the same as genetic modification, it opens up the idea of creating trees or plants with various combinations — even theoretically combining plants with humans.

Photo: Ismail Noor / Seeing Things

— What about the semiotics behind the choice of plants?

— Each plant has its own symbolism. For instance, the palm tree is interesting because, for me, it represents the beginning of the world. Some plants existed on Earth long before animals or humans, transforming a CO₂-filled atmosphere into one suitable for life. When I create these plants, like palm trees, in specific materials, they feel like explosions, like a big bang, symbolising the origins of life.

Bonsais, as we discussed, are about control and harmony. Orchids, on the other hand, are very sensual and structurally beautiful. Interestingly, the Phalaenopsis orchid became one of the most successful plants globally — not because it improved its natural ability to attract insects, but because humans desire to have it in their homes. This shows how human behavior, like shopping, influences evolution.

— How do you balance the call for nature with digitalisation?

— That is the core tension of this show — the interplay between the virtual and the real. It also highlights the dualities of preservation and destruction, which are central themes in our current experience of nature and culture.

— What do you hope people will take away from this exhibition?

— I don’t hope for anything specific. It is up to individuals to take what they will. However, I think it is about shared experiences of being human and our relationship to nature and culture.

by Sophie She