Toxic Sublime
by Amelia Hoskins · Published · Updated
Mark Quin - Exhibition - The Toxic Sublime
Toxic for some indeed. Quin indulges the fetishes of the day, glorifying the abnormal, to play into the transgender cult.
'Global Warming' - interpretation by Marc Quinn
As an introduction, Quinn interestingly hits on an angle of 'synthetic agenda' environmental concerns, in his 2015 exhibition 'The Toxic Sublime' but is concerned with the fake 'global warming' agenda. He gets one thing right - the 'sublime of nature' in his mission to show how it has been made toxic. If only he was concerned about other toxic pollution of air, land and water; and not the politically manufactured 'climate change'.
- There is some classicism of form in the steel shells, broken and distorted. The grey colour does not show off the sublimeness of chalky coloured shells.
- 'Paintings' of photographs on canvas, smashed onto steel, distorted to show damage of 'climate change': is an interesting technique, but too concerned with destruction, almost glorification of destruction.
Ludicrous adult figures with wrong sexual identity - 'Buck and Allana'.
Toxic indeed. Sublime? No. What is attractive about such a lie? Would children visit this exhibition and what would they make of it? They might think people commonly actually have either sexual organs on either gender: which of course plays into the social engineering.
'Buck and Allana' shows just how twisted Quinn's works on sexual identity politics and transgenderism are. I cannot see what it achieves other than to confuse people. I don't believe he has a theme of his own other than what he thinks is politically correct. He admits his value is in shock:-
'It's a bit like watching a nuclear explosion and knowing that you're about to die in about 25 seconds and thinking - actually that cloud has an amazing shape.' ~ Mark Quinn interview.
Multi coloured 'finger print' paintings behind the sculpture: a clever idea, but what do they symbolise? Genetic transmutation, as well as LGBT values.
He takes blood transmutation further in his 'Blood' exhibition of 5000 refugees' blood in glass tanks, under a structure by a very famous architect: all to show social justice. But it actually does nothing, and has no aesthetic. This type of 'art' is allowed to exist by the social engineers.
Quinn is a subordinate propagandist of his time; conned into thinking that promoting multiculturalism and transgenderism is the right thing to glorify, but he does so with angst and 'synthetic' technical beauty. He is actually part of the 'woke' socialist social justice warrior cultural establishment which is accepted and in some cases glorified in London.
Art has often been concerned with angst of the day, but Quinn glorifies the cults of the day, encouraged doubtless, by those who would destroy the value of heterosexual family.
'Matter into light: The Discovery of Fire' 2011
Marc Quinn 2011 - Installation at the Musée Océanographique de Monaco, 21-Jul-2012
Quinn may have an idea on the transformation of energy, for his exhibition theme, inspired by Indian funeral pyres, and the fire shine on the bronze is effective.
Again, Quinn is out to shock, mixing life with death. The idea of animated skeletal humans copulating in a fire distorts any idea of natural family comfortable sexual relations, as it appears more as a cult of horror. In a public place this sculpture would be disturbing to children.
Matter into Light. Marc Quinn
Quinn's work of the 1990s is of disturbed male forms. One wonders if they reflect his own psyche in troubled times.