Sam Jinks hyper-realistic unique sculptures

Emotional vulnerability is both the theme and result of australian artist Sam Jinks hyper-realistic sculptural portraits. Each humanoid artwork is carefully and meticulously constructed from silicone, fiberglass, resin and calcium carbonate, and their details ripened by biological mediums like human hair, demonstrating an abundance of anatomical and physiological accuracy. avoiding straightforward portraiture by casting his anthropocentric figures large-scale, smaller-than-life sized, or interlaced with animal parts suggests to the observer a curious sense of intimacy with the subject.

“The scary thing about both sculptures is not what might be happening to the figures - though this is sinister - but rather their comprehensive level of detail.”

“The scary thing about both sculptures is not what might be happening to the figures - though this is sinister - but rather their comprehensive level of detail.”

They narrate brief, and often private moments in time — life cycles and different stages of development create generations of figures frozen in time. Jinks will be included in the ‘platforms australia’ exhibition at art stage singapore 2014, presenting a self-portrait work in the group exhibition.

“The scary thing about both sculptures is not what might be happening to the figures - though this is sinister - but rather their comprehensive level of detail.”

“The scary thing about both sculptures is not what might be happening to the figures - though this is sinister - but rather their comprehensive level of detail.”

The scary thing about both sculptures is not what might be happening to the figures – though this is sinister – but rather their comprehensive level of detail. The verisimilitude in the treatment removes you from the comfort of analogous images in the history of art. In the tradition of figurative sculpture, the agonised figure – from Ghiberti to Kollwitz – is bathed in aesthetic heroism.

“The scary thing about both sculptures is not what might be happening to the figures - though this is sinister - but rather their comprehensive level of detail.”

“The scary thing about both sculptures is not what might be happening to the figures - though this is sinister - but rather their comprehensive level of detail.”

 

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