His recent Kate Moss sculptures pose super-model as yogi-Buddha, emaciated, contorted, and deformed; a waif goddess bestowing the blessings of vacuous malnourished serenity, tranquillity in angelic grotesquery. Coupled with larger sculptures, a cherub and floral still-life exquisitely executed in bronze, his works become infused with classicism’s timeless authority: the fragility of nature and youth made eternal, immortal, undead.

Quinn’s practice poignantly articulates the liminal spaces between life and death, the physical and metaphysical, supreme beauty and silent unnameable horror. Through the meticulous presentation, materiality, and detail of his works, the pinnacles of artistry become conveyors of vanitas, bridging the gulf between unattainable desire and longing and its luxurious, bitter sweet sublimation.