Lorenzo Quinn’s monumental sculptures are true marvels of art and engineering that never fail to leave us in awe, compelling us to ponder the vastness of our world. Through their grand proportions, these works of art effectively convey potent messages that Quinn skillfully expresses. As viewers, we have the privilege of experiencing these artworks from various perspectives, whether from a distance or up close, allowing us to delve into our relationship with space, soul, and dimensions… But what is the underlying message?
The Italian visual artist, former actor and son of Academy Award Winning Actor Anthony Quinn and costume designer Iolanda Addolori, was born in Rome on May 7, 1966, and grew up between Italy and the USA.
While Lorenzo’s formative years were undoubtedly shaped by the unyielding spotlight of the film industry and his father’s artistic pursuits beyond the big screen in the realms of painting and sculpting architecture, Lorenzo credits Salvador Dalì as his inspiration for yielding to the art world—initially embarking on a path to become a master of surrealist paint- ing while studying at the esteemed American Academy of Fine Arts in New York.
But after enjoying a brief acting career, including playing alongside his father in Stradivari (1989) and even giving an acclaimed performance as Salvador Dalí, Lorenzo failed to find joy, or rather, a deep calling in the acting profession, admit- ting that he was in it for the wrong—more superficial— reasons, and the wrong reasons are never the right way forward for an artist whose soul delves deeply beyond the surface.
Quinn vividly recalls the moment in 1989 when he felt that he had created his first genuine work of art:
“I had sculpted a torso from Michelangelo’s drawing of Adam, an artisan’s job. I had an idea and began chiseling away, and Eve came out of Adam’s body…It had started as a purely academic exercise, yet it had become an artwork.”
Recognizing that sculpture would provide a more suitable outlet for his boundless energy and inherent originality, the young artist shifted his focus. His unwavering dedication to his newfound craft soon bore fruit after experiencing a moment of unparalleled artistic transcendence.
Today, Quinn’s work is exhibited internationally, his monumental public art and smaller, more intimate pieces, transmit his passion for eternal values and authentic emotions.
ART SHAPED BY TIME’S IMPERMANENCE
Quinn’s art has long been fascinated by the passage of time. In his fifties, with three children and a rich tapestry of personal experiences, Quinn’s introspective journey reflects a profound understanding of life’s fleeting nature and the importance of cherishing every moment. Growing up with a father who was 51 years his senior, Quinn developed a deep appreciation for the limited time they had together. Awareness of their temporal connection in- stilled in him a driving desire to be fully present in every cherished moment they shared.
Furthermore, when Quinn lost his brother at the tender age of 48, this devastating loss served as a poignant reminder of life’s fragility, amplifying his awareness of time’s ethereal nature. Through this lens, Quinn began to comprehend the actual value of time and the significance of appreciating the present, seizing every opportunity and living life to the fullest. Now, Quinn finds himself in what he describes as the “middle of his voyage of life,” contemplating the temporal nature of existence.
Each day, he strives to extract bound- less joy and fulfillment from the fleeting moments, recognizing the preciousness of time’s embrace.
“I try as much as possible to follow my dreams and live each day to the fullest, taking advantage of every moment I can”
Q & A:
Growing up between the new world (New York) and the old world (Rome)—how did both worlds affect your worldview and artistic expression?
New York is fantastic, but it’s very hard. It’s hard on the spirit. It is a nail-biting, stressful city, and yes, it’s true that if you can make it in New York, you can make it anywhere, but to make it, you have to have a heart of steel because there are so many contrasting life elements in New York—everything is in New York, it’s the melting pot of the world. I think it’s important for an artist to spend some time in New York to grow as an artist. But possibly to grow as a person, it’s best to be in Rome, in Italy—to grow spiritually. Also, in Italy, you have incredible scenery and mastery of the Renaissance artists, which depresses me every time I go. I feel I will never be able to achieve the level of perfection that they had achieved. But then I realized that we live in different times and that, at times, we are looking for something other than the perfection of figures.
We’re looking for something that goes beyond the third dimension—the fourth dimension: The meaning behind the artwork and what it represents. Of course, a lot of the artwork they did also had that because there was a lot of symbolism in their art, especially the mythical figures from the myths, the Greeks, and so on. I think it’s very important to balance both the new and the old worlds absolutely.
What do you consider art a form of, and how can it equip, help, or save both the creator and the observer?
Well, I can’t speak for others, but I can speak for myself. Art has saved my soul. Art has enriched my soul. It has added beauty to my life. And I hope I have added beauty and harmony to other people’s lives. It makes life better. It is not a necessary tool for life, but it definitely adds beauty and harmony to it.
Can you describe a specific moment or experience when you felt a deep connection between your art and a spiritual revelation, and how did it shape your work?
I did quite a few sculptures that speak about that. Still, probably the one that is more directly connected to that is “The Hand of God,” which was created by the beautiful poem “Footprints in the Sand,” it’s a beautiful poem, and I absolutely needed to dedicate an artwork to it. And then “Time Flies” — a sculpture I made that reminds me every day that, yeah, you can’t count the time you need for the time to count. So it’s about life, the spirituality and the purpose of why we are here and where we are going. So those two sculptures, but I have many, actually. I can’t just narrow them down to one or two pieces. They have all been very important, even the last one I did for the previous Biennale, “Baby 3.0,” is very important for me.
BUILDING BRIDGES
Building Bridges debuted in the Venice Biennale. Installed in a basin adjacent to the entrance of the Arsenale in the Castello District of Venice, this sculpture spoke volumes then and continues to be a topic of discussion today. This sculpture aligns with Quinn’s message of world unity, expressing the most authentic essence of humanity in that we all share the exact base needs and desires.
Symbolizing our shared human experiences and desires, the interlocking fingers and the gentle touch between the hands speak of unity, trust, and support. It was a powerful representation of our interconnectedness and the importance of working together for a better future. Quinn’s attention to detail and craftsmanship are evident in every curve and crevice of the sculpture. The hands come alive, reaching out to the viewer and inviting us to contemplate the power we hold within our own hands.
“I WANTED TO SCULPT WHAT IS CONSIDERED THE HARDEST AND MOST TECHNICALLY CHALLENGING PART OF THE HUMAN BODY. THE HAND HOLDS SO MUCH POWER –THE POWER TO LOVE, TO HATE, TOCREATE, TO DESTROY.”
– LORENZO QUINN
How do you balance the artistry of your sculptures, the scientific knowledge required for their construction, and the spiritual aspects that might influence your creative process?
Yes, it’s true that sometimes, the more you know, the worse it is in some cases. Of course, when it comes to art, in a way, you know what is wrong and therefore, you don’t do it. Sometimes, it’s very important to have the freedom to make mistakes. Some mistakes turn out to be wonderful works of art sometimes, and you have to allow yourself to make those mistakes. When you are too attached to the perfection of the artwork per se, at times, that is a hindrance to creativity. The important thing behind every work of art is creativity—the artist impresses upon the artwork itself. I do value though the technical side of it because of course that can add true harmony to a work. I think that is the difference between a good artist and a bad artist.
A good artist, the eye perceives a harmony, then it’s transmitted through the technical and creative work of a superior artist to that of an inferior one. The subject matter or creativity might be better from the artist who knows less. The problem is how it is assembled—how it is put together. How it’s balanced and, therefore, how it’s harmonious. Because we see harmony everywhere we look when we walk in nature, and our eyes are accustomed to it. When we see something that is not harmonious, we don’t know why, but it upsets us, so it’s important to find a balance absolutely.
Do you believe that art and culture are interconnected, and if so, how do they inform and enrich each other?
Absolutely. Art and culture are very interconnected. And in fact, people from different cultures do different kinds of art. There is no question about that, and when they travel, and artists travel as they often do, many artists have different studios in different countries, and their art is definitely affected by them whether they are in one or another country creating. As it affects food and as it affects the way people speak to each other. Culture is very important. They go hand-in-hand. And it definitely is enriching.
Last question. If you could share one lesson about art and life, what would it be?
Most importantly (laughs), if you’re going to do art, do it with passion. Don’t think about success. Don’t think about money. Do it because you love it. Because you want to do it. The day you stop loving it, the day you don’t do it with passion, and it just becomes a job, it will show in the art. The art will be superficial and won’t mean anything to you or others. And that is very sad when that happens. Also, it’s important to understand that not every work is going to be a masterpiece. Most of them will not be masterpieces, in fact, and there will be moments of high inspiration and moments when you will feel quite empty, and it’s okay. It’s important. The ups and downs are important. Life is a rollercoaster, and you need to learn — it’s a learning curve, and all this goes into the art you create. So, it’s important to be aware of yourself and to transmit that self into your art.
