Marc Quinn is no stranger to criticism, with many academics equating his commercial success to his ‘deliberately’ provocative nature. However, whether intentional or not, Quinn’s latest exhibition The Toxic Sublime is tamer than his previous works, and somewhat proves that he is an artist in his own right. Running at the White Cube Bermondsey in London, The Toxic Sublime features an array of three-dimensional seascapes and larger-than-life sculptures comprising of eroded shells. Quinn’s work appeals to our ever-growing engagement with our global environment, as he highlights the ‘exploitative relationship between humans and nature.’ Reporting for the New York Times, Saphora Smith explores the artistic process behind his heralded exhibition and the intricate connections he makes between the traditional and contemporary, J.M.W. Turner’s romanticism fused with materials such as debris and tape; ultimately signifying man’s intrusion into nature. Sandy Nairne, the former director of the National Portrait Gallery champions Quinn as an artist, ‘bold in his conceptions, in his development of ideas and in the execution of his works’ and stresses thatThe Toxic Sublime is not one to miss.
The Toxic Sublime runs until 13 September 2015 at the White Cube.