Matthew Lutz-Kinoy’s practice freely moves between painting, ceramics, printmaking, and performance, with each medium feeding into the next. Lavish botanical drawings, nude reclining bodies, cherubs and angels are all brought into being through ethereal, watery layers in the artist’s large-scale paintings. Fragments of these works are printed onto delicate scarves, filtered into choreography, or are reincarnated in clay forms. Fluid and amorphous, this enticing imagery in constantly reconfigured and reborn, giving new vitality and a sense of curiosity to this classical 18th century oeuvre. Lutz-Kinoy cites the work of performance theorist, José Esteban Muñoz, specifically, his book Cruising Utopia (2009) as being a particularly formative influence upon his work. All of the aspects of Lutz-Kinoy’s practice serve as tools to play with Muñoz’s analysis of queer time and space. Stretching the normative parameters of scale, texture, and form, Lutz-Kinoy subverts audience’s expectations by merging facets of painting, ceramics, performance and printing. None of these media ‘behave’ as they usually do, extending a warm invitation to audiences to bask in Lutz-Kinoy's non-linear, sensory realm. ...
