Matt Hinkley’s exhibition This new source of strength could not be relied upon at first continues his long-term engagement with process-based sculpture. Rather than positioning itself as an endless production line of similar works, this new series of small-scale sculptures insists on repetition, impression, idiosyncrasy and focus to occupy the space between labour and mechanical work. Easily dismissible as one in the same, both within this exhibition and his wider oeuvre, these sculptures are just as much about inverting the monumentality of sculpture, the necessity for ‘newness’ and the notion of the ‘original’ as they are about trying to extract everything that might yet be of value in the history of their expression.
The truth is, we still haven’t received any news of its existence, Robert Heald Gallery, Wellington, 2018; These Earthly Days Go Rolling By, Sutton Gallery, Melbourne, 2017; There are more days to come when we will be on our own, Robert Heald Gallery, Wellington, 2016; Matt Hinkley, Sutton Gallery, Melbourne, 2014; Matt Hinkley, Neon Parc, Melbourne, 2010.
Sleeping with a Vengeance, Dreaming of a Life, Würtembergischer Kunstverein, Stuttgart, the Netherlands 2019; The world precedes the eye, Institute of Contemporary Arts, Singapore, 2016; Bilder Bilder, Neon Parc, Melbourne, 2016; Technologism, MUMA, Melbourne, 2015; Lurid Beauty, National Gallery of Victoria, Melbourne, 2015; The Kaleidoscopic Turn, National Gallery of Victoria, Melbourne, 2015; The Lulennial: A Slight Gestuary,Lulu, Mexico City, 2015; 19th Biennale of Sydney: You Imagine What You Desire, Sydney, 2014; Melbourne Now, National Gallery of Victoria, Melbourne, 2013; Reinventing The Wheel: The Readymade Century, MUMA, Melbourne, 2013; New Psychedelia, UQ Art Museum, Brisbane, 2011; Freehand, Recent Australian Drawing, Heide Museum of Art, Melbourne, 2010.Artist’s profile