Lorenzo Quinn on connection, love, and Marco Polo

As the world celebrates the 700th anniversary of West-East pioneer Marco Polo’s passing, Anime di Venezia – Souls of Venice, by Italian-American contemporary artist Lorenzo Quinn, is on show at Ca’ Rezzonico in Venice from April 20 to September 15, 2024, during the 60th Art Biennale. This installation, commemorating Marco Polo’s death, features 15 statues constructed using metallic mesh and augmented reality to highlight influential Venetian figures, symbolizing the city’s enduring artistic legacy. Perhaps the artist’s most famous and striking work is Support, a dramatic installation that features two gigantic hands emerging from the Grand Canal to cradle the Ca' Sagredo Hotel in Venice, a sculpture emblematic of connection and Quinn’s concern for climate change. Symbolizing the delicate balance between human development and nature; it became even more poignant during and after pandemic. The hands, both supporting and being supported by the historic building, reflect Quinn’s recurring theme of interconnectedness. Rome-born Quinn’s works, some of which are made in a foundry in the outskirts of Shanghai, are celebrated globally, with exhibitions across Europe, Asia, and the Americas. But the artist resonates with Marco Polo’s Eastern adventures, too. In September 2017, the 5m The Force of Nature was installed, to dramatic effect, on the top of the Modern Art Museum, Shanghai, overlooking the Huangpu River; there are works in Chengdu and Chongqing, too. Quinn’s often outsized sculptures not only decorate urban landscapes, but stimulate interaction and provoke dialogue about the pressing issues facing today’s world, securing his place as a pivotal figure in contemporary sculpture. His style combines classical techniques inspired by the likes of Augustin Rodin, Michaelangelo and Salvatore Dali deals with contemporary themes, but have been exhibited in locales as diverse as London’s Harrods, Venetian canals to the United Nations. Jing Daily: How did Venice, and Marco Polo’s historical East-West journey, inspire your recent Anime di Venezia – Souls of Venice sculptures? Lorenzo Quinn: My mother was Venetian, and I still have many cousins in Venice, so personally, it’s very important to me. Professionally, Venice marked a turning point in my career. It’s where I first presented This is Not a Game during the Biennale around 2014 or 2015, and two years later, I showcased Support, which received considerable critical acclaim. Venice is one of the longest lasting republics, lasting for 1,600 years, it has always been on the forefront of art and culture. And its where Marc’s name to the East, originated. It’s been important to be part of the official Marco Polo exhibition at the museum. Venice isn’t a dead city; it’s very much alive, despite its challenges. It’s a complicated city, many locals leaving, and international people moving in. So, this little city of 60,000 people, it moves a lot in the world, especially the art world. It’s one of the big [art world] references, everybody wants to be in Venice and say their bit. And if you are successful in Venice, you are noticed worldwide. JD: Marco Polo connected cultures, Italy, China and all those along the Silk Road. Is that something that has inspired you and your own work as well? LQ: Oh, absolutely. I have a piece there that's been there since 2019, called Building Bridges, which is all about that. It’s all about bridging cultures, and finding what we have in common rather than what divides us … So, that spirit has been very influential in the creation of most of my recent works, especially public art. JD: Your work has been prominently featured all over China, with installations like ‘Force of Nature’ and ‘Dreams Come True’ in Shanghai. Tell us more. LQ: I have a lot of pieces in China. I think in Shanghai, I have about six or seven public pieces, monumental outdoor pieces. Then, I also have pieces in Chengdu and Chongqing. And it’s constantly changing as well. Now, we're talking about something in Beijing that will happen soon. But I don’t just show there. Part of my production is also there – I have a foundry I use just in the outskirts of Shanghai. JD: Your work often draws inspiration from masters like Michelangelo, Bernini, and Rodin and Dali. How do you integrate their influence into your contemporary sculptures? LQ: I first studied at the Academy of Fine Arts in New York City. I also dissected some bodies And as an artist, when you study figurative art, you just cannot avoid, you know, being in awe and studying the past masters. And let’s not forget I was born in Rome, so I was surrounded by this amazing art. My favorite being Gianlorenzo Bernini. And I also worked in Pietra Santa, where most of these masters collected their Carrara marble. Every time I go there, you still feel their vibes, their energy, because as you know, nothing is destroyed. They are ‘irreplicable.‘ It’s not even a question. But what they can do is inspire us. I think that what I’ve learned, what I've learned from them is their great ability to communicate emotions. And what I’ve tried to learn from them is this sense of harmony and aesthetics which, unfortunately now I think is somewhat either not looked at or forgotten. A lot of art nowadays is more about shocking. It’s more about shocking people and gaining attention by almost, by almost … I don't know … sometimes I like to call it art terrorism. I like to go to a show and be inspired. And if, if you had been at an art fair over a century ago, you would come out and feel truly elevated. And you know, you feel the beauty and the effort of trying to transmit beauty and elegance and harmony and emotion. Now you come out of an art fair and you feel anger. Most of the art world today reflects anger, and some darkness there. To me that’s sad. It would be so easy to shock. I'm not going to fall into that trap. JD: What do you want your artwork to reflect because a lot of it touches on positive human connection? LQ: I want my art to be positive. I want my art to, as I said before, to promote kindness. And look, we all feel the need for love regardless of religion, regardless gender, regardless of your culture, we all have a need for love. JD: You want it to be a universal language? LQ: Absolutely. And is this because it has to be universal. I have to be able to speak in so that everybody understands. Because people always ask, “Why do you use so many hands?” It’s because everybody can relate to them. I want my art to engage people, and to possibly create an emotion and a stir, maybe even a change. JD: What change you are looking for? LQ: Look, there’s too much hate in the world. And it might sound quite cheesy, but I really do want to promote love. I am. I’m a father of three children. I’m concerned about their world, and their children's world. So most of my work is about bringing people together. JD: What kind of legacy do you want to leave with your art? LQ: I grew up in Rome, and the city is like an open air museum, right? And to think that I have the ability to reach people and that perhaps, I don’t know in decades or centuries from now, when I’m not around, perhaps my work is still going to be there. It’s a huge responsibility, and I want it to reflect our time in a positive way. Public art is like telling the story of the present. So you’re talking about today’s events and history and how we want the world to be remembered by people tomorrow? So, when I make a public sculpture, I think about that. This interview has been edited and condensed for brevity and clarity. Jing Daily presents Jing Masterminds — a regular exclusive interview series profiling today’s most iconic names in art, fashion, commerce and culture. Delving deep into their personal journeys, creative processes, business strategies and societal impacts, the series offers readers an intimate look at the lives and minds shaping our industries.

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Lorenzo Quinn on connection, love, and Marco Polo