Hyperrealism stuns us, but Sam Jinks’ work does more than stun our senses. It haunts us. Rooted in high resolution photography, the hyperrealists give us works of bold clarity and magnificent detail, most often larger than life. Not Sam Jinks. He plays with size, giving us huge and hugely powerful portraits, smaller than life men and women, and larger than life infants. They exist within a framework of cognitive dissonance that we find acutely memorable. This former sculptor of puppets and props admits he himself is haunted. He has sculpted “Hanging Man”, a modern day crucifixion, five times, “still trying to make that perfect object”. In that pursuit, a welcome tenderness has crept into his work. Always evident in his infants, you see this tenderness in “Woman and Child”, a rare life size piece of old age embracing new life. You see it in his untitled, sleeping “Boy”. It inhabits his dog headed couple, “Unsettled Dogs”. The canine human hybrids, meant to remind us that we are still animals, that we bark and bite, now lay side by side, gazing at each other with certain affection. His meticulously detailed snails, another gentle piece, awe us with their “Embrace”. In every gesture and pose, pore and follicle, vein and blemish shouts perfection, sculpted with exquisite care. These are intimate works, and that is what haunts us.
A behind the scenes look at Sam Jink’s work on Vimeo
By Katherine Dewey