Marc Quinn is one of the leading artists of his generation. His sculptures, paintings and drawings explore the relationship between art and science, the human body and the perception of beauty, among other things. Quinn came to prominence in 1991 with his sculpture Self (1991); a cast of the artist’s head made from eight pints of his own frozen blood. Other critically acclaimed works include Alison Lapper Pregnant (2005), a fifteen-ton marble statue of the heavily pregnant and disabled Alison Lapper, exhibited on the fourth plinth at London’s Trafalgar Square; Siren (2008) a solid gold sculpture of the model Kate Moss displayed at The British Museum, London; All of Nature Flows Through Us (2011), a six meter bronze iris installed at Kistefos-Museet Norway; Breath (2012), a colossal replica of Alison Lapper Pregnant commissioned for the 2012 Paralympics opening ceremony and Planet (2013), a monumental rendition of the artist’s son as a sleeping baby, permanently installed at The Gardens by The Bay Singapore. He has exhibited in many important exhibitions internationally including Give and Take, Victoria and Albert Museum, London (2001), the 50th Venice Biennale (2003) and the Gwangju Biennale (2004). Museum and gallery shows include Tate Gallery, London (1995), Kunstverein Hannover (1999), Fondazione Prada, Milan (2000), Tate Liverpool (2002), MACRO, Rome (2006), Fondation Beyeler, Basel (2009), The White Cube, London (2010), Musée Océanographique, Monaco (2012), Fondazione Giorgio Cini (2013) and Arter, Space for Art, Istanbul (2014). A major exhibition by the artist will take place at White Cube London this summer. Throughout his oeuvre, Quinn draws on ideas and themes relating to the human body. Other key subjects include cycles of growth and evolution through topical issues such as genetics and the manipulation of DNA, as well as issues of life and death and identity. Quinn’s work uses a broad range of materials, both traditional and untraditional. The materiality of the object, in both its elemental composition and surface appearance, is at the heart of Quinn’s work.