Quin comments: "... in my day-to-day experience, the landscape seems to intrude most and calls out more for its recognition and observation. Whenever I make a painting of any kind, whether it’s landscape, figure or still life, I have to have seen that situation in the world. I have to have experienced it. Even if it’s just momentarily, even if it’s just a drive- by event; if I have seen it, then I can believe it and I can develop it, or try to, at least. That pertains to the landscape, figure, still life, whatever. It all starts from there. ... I enjoy painting more if I can develop pictures in the studio based on plein air sketches and then make the compositional choices and color changes that the painting suggests to me. So, at that point, it’s not what is dictated by allegiance the actual motif, and studies from it, but what happens after those initial encounters. I want keep the life and quality of the motif alive, but I don’t want to be tethered to it. I want to be able to change it and move things around. I’m more of a studio painter in that sense ..."