Matt Hinkley

Matt Hinkley’s artworks range in size and material, from miniature drawings to sprawling installations. Simultaneously modest in scale yet assertive in the attention they garner, Hinkley’s work shapes our spatial and temporal experiences in the gallery. For over two decades, the artist has expanded the parameters of a minute register, imbuing each object, series or body of work with an understated-yet-elaborate aesthetic that follows its own logic. Utilising the generative qualities of repetition, impression and idiosyncrasy, Hinkley’s practice occupies a fertile space between anachronistic labour and technologism.

Born in Narrandera, NSW, 1976, Hinkley received his Bachelor of Visual Arts from the Queensland College of Arts, Brisbane in 2000. He was a studio artist Gertrude Contemporary from 2009–2011 and has additionally been awarded Australia Council studio residencies in Los Angeles in 2010 and Tokyo in 2015, respectively. In addition to his methodological studio practice, Hinkley has curated several exhibitions across Australia and internationally. He was notably curator of the NEW15 exhibition at the Australian Centre for Contemporary Art, Melbourne in 2015, and recently curated Marc Camille Chaimowicz: BOOKS & EPHEMERA 1977–2023 at Books at, Amsterdam, NL.

Now based in Rotterdam, NL, Matt Hinkley’s practice has emerged through an insouciant approach to research and practice. His meticulous and deceptive works necessitate activation through scrupulous viewership, ensuring an enduring acknowledgement of their often-vacant surroundings.

Matt Hinkley has exhibited extensively throughout Australia, New Zealand and internationally. His work is included in the collections of National Gallery of Victoria, Melbourne; Art Gallery of Western Australia, Perth; Auckland Art Gallery (Chartwell Collection), Auckland; Monash University Museum of Art, Melbourne, and various other public and private collections in Australia and overseas.

Artist's CV (PDF)

…in an era when many contemporary artists approach the production scales and bombast of a Hollywood feature, Hinkley is intent on demonstrating the potentials to be found in an art deeply embedded into modest materials which, rather than assaulting the viewer, awaits patient engagement.

Francis Plagne, 2012
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