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The National Portrait Gallery acknowledges the Traditional Custodians of Country throughout Australia and recognises the continuing connection to lands, waters and communities. We pay our respect to Aboriginal and Torres Strait Islander cultures and to Elders both past and present.

Aboriginal and Torres Strait Islander viewers are warned that this website contains images of deceased persons.

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Sam Jinks

Sam Jinks

'I would argue that my work is not particularly realistic'

Sam Jinks on hyper realism and his motivations.

Maquette for 'Divide'

Sam Jinks

Sam Jinks developed a talent for drawing and constructing his ideas alongside his father, a Melbourne cabinetmaker.

2 portraits in the collection

Divide (Self portrait)

Divide (Self portrait)

Divide (Self portrait)

Divide (Self portrait), 2011

Portrait, silicone, resin and horse hair

Purchased 2015

Maquette for 'Divide'

Maquette for 'Divide'

Maquette for 'Divide'

Maquette for 'Divide', 2011

Portrait, calcium carbonate resin

Collection: National Portrait Gallery
Gift of the artist 2016
Donated through the Australian Government's Cultural Gifts Program

Divide (Self portrait)

Dissections

Layered portraits from the collection

Previous exhibition, 2016

This display sets two impressive portraits from the collection into direct dialogue: Sam Jinks’ sculptural self portrait and Nick Mourtzakis’ painted portrait of David Chalmers, along with related maquette and sketches.Together they explore physical and psychological manifestations of the strata of self-hood.

Unsettled dogs, 2012 by Sam Jinks

Sam Jinks

More about In the flesh artists

Born in Bendigo, Victoria, Sam Jinks’ work can be found in various public collections that include the Kiran Nader Museum of Art, Dehli, India and the Museo Escultura Figurativa Internacional Contemporaenea (MEFIC), Portugal.

Woman and child, 2010 by Sam Jinks

Transience

More about In the flesh

These paintings by Juan Ford and sculptures by Sam Jinks evoke the impermanence of human life.

Small Things, 2012 by Sam Jinks

Intimacy

More about In the flesh

In experiencing intimacy the human mind wrestles with the impossible task of being as one with another. Sculptor Sam Jinks unites the textures of the human body and human emotion in these works addressing moments of intimacy.

Walking in tall grass, Lucy, 2010 by Jan Nelson

More about In the flesh artists

General content

The exhibition features work from Jan Nelson, Natasha Bieniek, Patricia Piccinini, Juan Ford, Petrina Hicks, Ron Mueck, Yanni Floros, Sam Jinks, Michael Peck and Robin Eley.

Divide (Self portrait)

Dissections: Layered portraits from the collection is now open

Archived media releases 2016

Dissections, showcases the hyper-realist sculptural self-portrait of artist Sam Jinks, Divide, alongside the painted portrait of philosopher David Chalmers by Nick Mourtzakis, which was commissioned by the Gallery in 2011.

Still Life (Pieta), 2007 by Sam Jinks

Mortality

More about In the flesh

In Western religious art a Pietà, also called a ‘lamentation’, is an image of the Virgin Mary cradling the dead body of Christ.

Divide, 2011 by Sam Jinks

In the Flesh

15 October 2014

Archived media releases 2014

Press releases and image downloads for media.

Still Life (Pieta), 2007 by Sam Jinks

More about In the flesh

General content

In the flesh is realised through moments of intimacy, empathy, transitions in life and the transience of life, vulnerability, alienation, restlessness, self-reflection, mortality and acceptance.

Divide, 2011 by Sam Jinks

In the flesh

Previous exhibition, 2014

In the flesh is an enthralling and immersive experience of contemporary art that confronts the concept of humanness and the experiences of consciousness and emotion. Featuring ten Australian artists including Jan Nelson, Patricia Piccinini, Ron Mueck and Michael Peck, the exhibition explores themes of intimacy, empathy, transience, transition, vulnerability, alienation, restlessness, reflection, mortality and acceptance.

Introversion from High Jinks in the Hydrangeas, 2020 Tamara Dean

In our nature

Magazine article by Tara James, 2022

Tara James chats with award-winning artist Tamara Dean about portraiture prizes, the environment and the strength of women.

Lauren in Red, 2003

Is the truth of portraiture vested exclusively in likeness?

Magazine article by Michael Desmond, 2006

Curator Michael Desmond introduces the exhibition Truth and Likeness, an investigation of the importance of likeness to portraiture.

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The National Portrait Gallery acknowledges the Traditional Custodians of Country throughout Australia and recognises the continuing connection to lands, waters and communities. We pay our respect to Aboriginal and Torres Strait Islander cultures and to Elders past and present. We respectfully advise that this site includes works by, images of, names of, voices of and references to deceased people.

This website comprises and contains copyrighted materials and works. Copyright in all materials and/or works comprising or contained within this website remains with the National Portrait Gallery and other copyright owners as specified.

The National Portrait Gallery respects the artistic and intellectual property rights of others. The use of images of works of art reproduced on this website and all other content may be restricted under the Australian Copyright Act 1968 (Cth). Requests for a reproduction of a work of art or other content can be made through a Reproduction request. For further information please contact NPG Copyright.

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