Bio
Born in Honolulu, Hawaii in 1975, Malia Quinn was raised across Texas, Georgia, and Oklahoma. From an early age, she was captivated by the human form, filling sketchbooks with faces and figures. At age 12, inspired by a Monet exhibition in Atlanta featuring his Waterloo Bridge and Westminster series, she picked up oil paints for the first time. Her love for French Impressionism deepened over the years and eventually led her outdoors—she began painting en plein air at 16 while living in Oklahoma.
In 2010, Malia took her first plein air workshop with renowned landscape painter Bill Zaner in Big Bend National Park. Two years later, she moved to Colorado to immerse herself in the dramatic seasonal shifts and the luminous mountain light—ideal inspiration for her landscape work. Her classical foundation was further developed at Watts Atelier and through numerous intensive workshops.
Malia has exhibited her work throughout Texas and Colorado and currently owns and operates Quinn Gallery on South Padre Island, Texas. Since 1999, she has also drawn live portraits at festivals and county fairs across the country—these expressive charcoal and conte sketches are now a beloved part of her gallery offerings.
Although most of her work is created in the studio, Malia frequently paints outdoors to study her subjects directly. Her favorite themes include seascapes, landscapes, and figures, always rendered in oil for their richness and depth. She draws inspiration from the masterful brushwork and light-play of Sargent, Fechin, Sorolla, Monet, Zorn, and Degas.
Statement
I create paintings that explore the balance between chaos and calm, inspired by the timeless concept of yin and yang—the idea that opposing forces are not only connected, but also essential to one another. This interplay of contrast—light and dark, stillness and motion, form and openness—guides the way I approach each piece.
Using abstraction, composition, and color harmony, I work to capture moments that feel both grounded and alive. Rather than focusing on detailed realism, I aim to express the energy of a scene or emotion through simplified shapes and dynamic brushwork. Each painting becomes its own living balance, where opposing elements push and pull to create a sense of harmony.
I want my work to reflect something universal—something we all experience. The tension between chaos and order isn’t just in nature or in art; it’s in daily life, in emotion, and in how we make sense of the world. By embracing this duality, I hope my paintings offer a space to pause and connect with that deeper rhythm.
