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Life is in constant motion and transformation. In my sculptures, I try to balance technical precision with emotional depth in order to create a strong sense of movement and feeling. Each sculpture has its own story. I begin by defining the message I want to communicate through the artwork — that is the key point of the process. In my works, I like to play with gravity, pushing beyond boundaries both physically and symbolically. Unfortunately, we cannot yet suspend objects in mid-air, but perhaps in the future, with new materials, this may become possible.
Art is a powerful tool that brings people together and allows us to share common emotions. By focusing on universal themes in my work, I want viewers to connect these pieces with their own life experiences. Human nature, relationships, and emotions are subjects that unite us all. Reflecting on and discussing them can make us more empathetic individuals. I design my works with the hope of sparking such a dialogue.
In my Mother Nature pieces, I wanted to show how natural disasters can be just one step away from us, and how important it is to take precautions. The 2.5-meter Mother Nature sculpture I created in memory of the hurricane in Thailand was meant to represent how Mother Nature defends the Earth, while also confronting the consequences of human-centered thinking. I dedicated all of these works to nature itself. Versions of the sculptures stand in the United States, the United Kingdom, Austria, Monaco, and Singapore.
The hands, often seen as the most complex and technically challenging part of the body, are for me among the most powerful symbols. Every movement, every gesture of the hands tells a story the power to love, the power to hate, the power to create, and the power to destroy. Using hands in my art represents human connection, communication, and empathy. In each sculpture, I try to explore a different facet of human nature through hands.
My Support sculpture in Venice, in which two giant hands appear to hold up the façade of the Ca’ Sagredo Hotel, was created with Halcyon Art International in support of the United Nations Climate Change initiative. Venice, this inspiring city under the pressure of climate change and the passage of time, needs our support as much as that of future generations. The title Support reflects this idea perfectly: the hands, with a delicate gesture, are holding up the historic building.
Communicating with others is very important to me. Through my work, I try to create connections between people. This is not always easy. I have to express myself in a clear and understandable way almost like writing a book. Especially when working in public spaces, I simplify the language of my sculptures so that they can be understood by a wide audience. I am always mindful that not everyone is an art expert, and some people may not even like art.
The power of art lies in its ability to bring different people together and create a shared understanding. My public sculptures are meant to establish a dialogue with everyone. I believe art should be an integral part of society. With my works, I hope to encourage people to think, to feel, and perhaps to gain new perspectives about themselves and their surroundings. This is why I often use universal hand gestures or other simple means to convey my messages, so that anyone can grasp what I am trying to express. Public art, I believe, must be accessible and meaningful to all.
Public art enriches urban life, making it more meaningful. These works bring people together, encourage dialogue, and support a shared identity. Especially in today’s digital age, installations provide authentic experiences and make public spaces more engaging. At the same time, they reach a wider audience through social media and enhance the appeal of the city.
Art is about pushing boundaries and allowing imagination to roam freely. But in the real world, there are limits and practical considerations. Monumental works, for example, often face constraints — city council approvals, permits, engineering requirements, and other factors. Each site also has its own unique character, which adds complexity. Considering local culture is equally important: what you can do, what you cannot show, and how you show it. These factors greatly shape the design of public works.
Yet I find this process exciting as an artist. Taking on new challenges keeps creativity alive. And I hope that soon we will overcome the barriers and realize some beautiful projects in Turkey.
Thank you. Each viewer interprets an artwork through their own perspective and experiences. I want my pieces to carry different meanings for each person and to evoke different emotions. With the moral or philosophical messages in my works, I usually aim to encourage the viewer to think and to question.
For the 2018 International Duke of Edinburgh Awards, I created a sculpture of a young woman and man holding the world in their hands — a symbol of hope for future generations. I also designed the Give from the Heart sculpture for the Steve and Alexandra Cohen Foundation. This work was meant to promote philanthropy and to reflect their commitment to “raising awareness, providing guidance, and contributing to society through exemplary leadership.”
I hope audiences understand my art in this spirit. And for those who have the means, I hope they will support young people not just with basic educational needs, but also by helping them grow socially and broaden their vision. More importantly, instead of offering ready-made solutions, I want to help young people build the ability to create their own. Solidarity is beautiful.
The visual materials used in this interview are taken from the artist’s catalogue. For more information, please visit https://lorenzoquinn.com/.
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