Based in the field of expanded painting, Quinn’s visual practice investigates the seams where the sacred worship of religious iconography intersects the secular viewing of art, subverting the gallery space into a site of worship.

Her oil paintings convey themes of transformation, primarily concerned with rites of rebirth. Inspired by the ecclesiastical tradition of reliquaries, the paintings are guarded within protective, skeletal frames, made using sculptural processes Quinn developed during her undergraduate studies. Their design draws from investigations into religious ornamentation and rock formation found in caves. This research corresponds with the fundamental motivation of Quinn’s current practice – revealing the latent role of religious myth as an allegory for that which is inherently psychological and subjective.

By harnessing archetypal content rooted within mythology, Quinn is conducting a demonstration of self-mythology. Within her paintings, she is projecting her own likeness upon the fabled figure of Lilith, reclaiming her tarnished mythology in its association with the biblical chapters of Genesis as a means to ultimately reinvent herself, the artist, in the process. Quinn contextualises this work as an installation that imitates a spiritual site akin to a tabernacle, rousing a cathartic ritual of rebirth in order to demonstrate the proposed sanctity of this process.