Quinn's new sculptures develop key ideas that can be traced through his earlier work, such as the Eternal Spring installations where he preserved flowers in their most perfect bloom by plunging them into sub-zero silicone tanks and kept them alive by virtue of 'umbilical' electrical cords. In 'The Complete Marbles', figures of people who had lost limbs or were born without them were carved in marble in the classical manner as a way of re-reading the aspirations of Greek and Roman statuary and their reliance on a perceived, imagined and idealised whole. In this exhibition, Quinn presented two marble heads of a blind man and woman, which appear like any other 'blind' classical sculpture. In this case, Quinn made the blank stone eyes of classical sculpture (which were, of course, once vividly painted) equivalent with the literal limitations of human perception.

The sculpture Cybernetically Engineered, Cloned and Grown Rabbits recall Quinn's earlier work with DNA, including the portrait of Sir John Sulston, now on show at the National Portrait Gallery. These perfect replicas of disembowelled rabbits are, literally, clones that have been rescaled using a computer. The decision to make the otherwise accurately rendered animals almost human-size gives an oddly anthropomorphizing effect. Conversely, in 'Cybernetically Engineered, Cloned and Nanonised Rabbit' this same scanned information has been used to produce a miniature silver version, hinting at the realm where science meets myth and legend.

Marc Quinn has exhibited throughout the world and has had solo exhibitions at the Tate Gallery, London (1995), Kunstverein Hannover (1999) and Fondazione Prada, Milan (2000), Tate Liverpool (2002) and the Irish Museum of Modern Art, Dublin (2004).