In the Studio: Sam Jinks

KNOWING YOU OVER THE YEARS, I SEE YOU FORM AN INTENSE RELATIONSHIP WITH EACH WORK THAT YOU MAKE. IS THIS BECAUSE OF THE LENGTH OF TIME REQUIRED TO MAKE EACH WORK (OFTEN YEARS)?

SJ/ The length of time is a product of trying to get the correct feeling in the work, you do become very caught up in it, and it can be exhausting at times. Some of the research material I use can also be confronting and intense.

It’s easy to have an idea or a vision in your head, but it can be a different story when you start pushing clay around. Problems arise that can sometimes render it awkward or not possible in the short term.

The relationship with the work is strange, it begins with excitement and energy at its inception, then becomes more practical during construction, there’s a period of trying to hold it in line, and then once it’s finished hopefully you can feel that energy in the work again.

YOUR WORKS TOUCH ON MORTALITY AND THE CYCLES OF LIFE. WHERE DID THIS BEGIN AND HOW HAVE THESE IDEAS EVOLVED FOR YOU?

SJ/ I’m often surprised that I get asked this question, this is the rhythm of human experience, of nature, it seems to get overlooked by the minutiae of daily existence, but it’s always there.

Examining life seems to make it all a bit less frightening or daunting. You can begin to see the patterns around you that give a sense of timelessness.

It seems obvious, but nature is very powerful at demonstrating these things. Lately I’ve been getting out of the city a bit more, which is such a relief after last year’s lockdowns.

WHERE DOES THE START OF A WORK BEGIN? IN CONCEPT OR IN FORM, OR SOMEWHERE IN BETWEEN?

SJ/ Most works seem to begin with a concept. I then try to marry it with a form that might work.

I collect forms/images/shapes and arrangements that I like, that I could connect to a concept.

This can be a fun part of the process, finding the arrangement that best describes the concept or feeling I’m after.

WHERE DOES YOUR INSPIRATION COME FROM? ARE THERE ANY ARTISTS WHO INFLUENCE YOU?

SJ/ Inspiration usually comes from everyday life, from experience and nature. Artists who inspire me changes on a day to day basis.

At the moment I’ve been mostly focussing on Hindu representations of deities, particularly the Shiva Nataraja. I think at this time in my life it seems to be the most perfect work, representing the constant process of creation and destruction.

It's so beautiful. It also makes everything make a little more sense at least for me.

Francis Bacon, he didn’t seem to give a shit and was so confident in his message that it was almost undeniable, despite the often unappealing visuals of his work. Bernini, a master of composition, I like his maquettes particularly.

Bill Viola, some of his imagery is allegorical/symbolic, trying to describe human experiences which are indescribable or unknowable. I like this because it gives the work some utility, offering a different tool to perceive reality.

Inside Sam Jinks’ studio, Melbourne 2021Photo credit: Sam Jinks

WHAT DOES THE FUTURE HOLD FOR SAM JINKS?

SJ/ I’m working towards an exhibition in a medieval church, which is something I’ve always wanted to do. I would often make a work as if it was destined for a church-like environment, but would then present the work in a gallery with blank walls once again.

Churches and cathedrals were made to inspire awe, I’m interested in taking the work out of the gallery, and into a more contemplative space.

Exhibition: August 12 - 28, 2021