Hyper-real sculptures by Sam Jinks examine the integrity and frailty of the human form and psyche in minute detail and offer a surreal perspective on the nature of his subjects. Jinks creates unsettling human figures that are altered or affected in some way, sometimes the scale has been changed, sometimes a human head exchanged for that of an animal, sometimes the features exaggerated to look caracaturish. These alterations are subtle and believable because of the intricate detailing of folds and freckles, stray eyebrow hairs and skin pigmentation that makes his figures so convincing they seem to breath. It is not often we are allowed to stare at a body that is imperfect, to walk around a 3 dimensional human-being and be invited to stare. Jink’s work provokes an unsettling intimacy between art work and audience and draws us close as we relate physically, emotionally and psychologically to his subject matter. The Australian artists worked as an illustrator when he finished school and later learned how to work with silicone and latex as a prop designer, extending his skills in the production of masks and sculpture for commercials and films. He makes initial sketches and miniatures before constructing a wire and wood scaffold and he then he pours silicone over the structure. Using human hairs and wearing last colour, jinks creates an incredibly life-like vision of humanity as though blood courses through each figure. He tackles large themes from birth and death and his work also makes us question issues of intimacy and interraction. Each figure poised unaware of the fascinated voyeurs around it and preoccupied by life’s profound and often frightening questions. Jinks has created an alternative reality in which his fragile figures are caught in a strange meditative contemplation that most of us do not take time to ponder.