WE FOUND A CROUTON UNDERNEATH A FUTON.

The title of Quinn’s latest exhibition is a reimagining of a lyric from Uno II by the Viagra Boys: “I found a crouton underneath a futon. Mama said I couldn’t eat it ’cause all my teeth are gone.” This peculiar, poetic line evoked a vivid memory for Quinn—the lumpy blue futon in his family home where he and his teenage friends would pile onto to watch films, eat, and sleep. The mention of lost teeth also resonated with a recurring dream of his: his teeth crumbling or falling out when he brushed or touched them—a surreal symbol that lingers in his subconscious.

While the six sculptures in this exhibition are not autobiographical, they stirred personal reflections for Quinn during their making—memories of his youth, his friends, and the quiet disparities in how people are raised. The work subtly considers the formative impact of childhood environments, and the different sets of tools—emotional, cultural, material—that individuals inherit to navigate the world.

This tightly composed body of sculptural work interlaces media in a way that echoes the fragmented intimacy of a party caught on film or in photographs. Ceramic studies of faces evolve into heads, which are then reassembled, layered, and painted, forming composite portraits that are both singular and collective.

Each head is placed upon a book or zine—objects that have shaped Quinn’s artistic practice—positioning these texts not as pedestals, but as integral supports in the narrative architecture of the work.