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.

Fitzpatrick Gallery

Paris

Tokyo

Taka Ishii Gallery

Zürich

Galerie Francesca Pia

Glasgow

Koppe Astner

London

Project Native Informant

Amsterdam

Martin Van Zomeren

Pistoia

Spazioa Gallery

Berlin

Tanya Leighton

Los Angeles

David Kordansky Gallery

Dijon

Le Consortium

New York City

MoMA

Kunsthalle Zurich

Rome

Nomas Foundation

Stedelijk Museum

Whitney Museum of American Art

Hayward Gallery

New Museum of Contemporary Art

Matthew Lutz-Kinoy

While watching the petals fall

Repetition and difference, the pattern the behavior

See you In heaven… but first

Untitled

Then Back to Paris

Floral Fusion

Stripped Of Their Honors