Quinn translates those insecurities onto canvas. His primary inspirations are internal: moods and feelings that he evokes through color and line. How Come Not Me (2019), for example, is a portrait comprised of jumbled parts: a pink patch framing an ear; a thick, ruby-colored lower lip; a crimson brush of forehead with a gridded pattern.
Quinn describes the picture as an unconventional self-portrait. “How come not me? That’s a lingering feeling or question of mine, just because of my life. I always deal with this sense of not feeling worthy enough,” the artist admitted. He recalled a parents’ weekend at school, when he wondered why his own mother and father couldn’t also attend and be there to support him.
C’mo’ And Walk With Me (2019), one of the three-part portraits, is related to Quinn’s mother. He describes her as an avid churchgoer; his figure’s shiny black Mary Janes and hands-on-waist posture convey a fitting sense of propriety. The artist has just one photograph of his mother, but he never uses it. That picture, so tied to his own reality, hasn’t helped him articulate his artistic vision. Instead, he relies on his imagination.