KYLE JENKINS
LYNCH YOURSELF ON THE THINGS YOU LOVE
24 SEPT – 11 OCT 2014

KYLE JENKINS
Position Point (Bad Penny) #45 2014
acrylic and paper on canvas
100 × 77 cm

KYLE JENKINS
Position Point (My War) #49 2014
acrylic and paper on canvas
100 × 77 cm 

KYLE JENKINS
Position Point (Prove It) #48 2014
acrylic and paper on canvas
77 × 100 cm 

KYLE JENKINS
Position Point (Waiting Room) #46 2014
acrylic and paper on canvas
100 × 77 cm

KYLE JENKINS
Position Point (Pull My Strings) #47 2014
acrylic and paper on canvas
100 × 77 cm

KYLE JENKINS
Untitled (Beauty Trip) #12 2014
enamel on porcelain
15 × 12 × 10 cm 

 KYLE JENKINS  Untitled (We’ve Got a Bigger Problem Now) #11  2014  enamel on porcelain 24 × 19 × 12 cm 

KYLE JENKINS
Untitled (We’ve Got a Bigger Problem Now) #11 2014
enamel on porcelain
24 × 19 × 12 cm 

KYLE JENKINS
Untitled (Fix Me) #18 2014
enamel on porcelain
21 × 13 × 10 cm

KYLE JENKINS
Untitled (Repeater) #17 2014
enamel on porcelain
16 × 9 × 6 cm

KYLE JENKINS
Untitled (Soul Survivor) #9 2014
enamel on porcelain
21 × 8 × 8 cm

KYLE JENKINS
Untitled (Gas Jockey Huff) #16 2014
enamel on porcelain
20 × 10 × 7 cm

KYLE JENKINS
Untitled (Smallpox Champion) #15 2014
enamel on porcelain
21 × 12 × 13 cm

KYLE JENKINS
Untitled (Tumbling Dice) #7 2014
enamel on porcelain
22 × 16 × 14 cm


The idea of the simultaneous may be used as a metaphor to describe Jenkins as a painter and Jenkins as musician (as lead singer/guitarist of the band Suicide Swans). Both his worlds are counterbalanced with a visual investigation, which in this show are constructed from a punk reference point, resulting in works that reflect a chaotic embrace of the interconnected. His idea of an abstract or concept-based painting practice is representational as it is based in reality, a reality of the abstract. Alternatively we could consider the so called ‘real’ of these works as the Xerox copies of the photos; however to Jenkins the photos are not real but an artificial proposition, a capturing of a subject that exists in a reality we are distanced from. He sees these collisions of fractured ideas as a way to remember everything forgotten.

Lynch Yourself On The Things You Love features a body of work based within painting and porcelain objects. The works are a metaphor for a DIY aesthetic based within immediacy and intent. The works reference the subculture of American hardcore and punk with geometric and organic abstraction. These ideas are collapsed to represent how intent, concept, morality and connection create a form of death culturally as you become the ‘other’. The ‘other’ that questions, the ‘other’ that protests, the ‘other’ that argues, the other that ‘subverts’, the ‘other’ that debates and finally the ‘other’ that offers the possibility for options. Nothing is ever made up of just one thing, but in a culture that is a nursing home for the rest of the world having and making a positive connection with the things you love can become a death for everything you need to express.

Kyle Jenkins holds a Bachelor of Visual Arts (Honours) and Doctor of Philosophy (PhD) from Sydney College of the Arts (USyd) and is currently a Senior Lecturer in painting and art theory and Visual Arts Coordinator at the University of Southern Queensland in Toowoomba. He is a former board member of Sydney Non-Objective and Non-Objective Toowoomba and has organised and directed numerous galleries, artist run spaces and publications since the late 1990s. Jenkins’ works have been exhibited broadly in Australia and internationally in New Zealand, Europe, USA and UK and collected by Artbank, Toowoomba Regional Art Gallery, QANTAS, the Esbjerg Museum (Denmark) and private collections in Australia, USA, Belgium, Netherlands, Denmark, New Zealand, Germany, Switzerland, England and France. He is represented by Minus Space in Brooklyn, New York.