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                                     b. 1969

                                     Lives and works in Adelaide, Australia.

Christian Lock was born in 1969. He completed an Advanced Diploma of Art, Applied & Visual, North Adelaide School of Art, Adelaide (1999); Bachelor Visual Arts, SA School of Art, University of South Australia, Adelaide (2000); Honours, Bachelor Visual Arts, SA School of Art, University of South Australia, Adelaide (2001); Masters Visual Arts, SA School of Art, University of South Australia, Adelaide (2006). Exhibitions include The Substation Contemporary Art Prize, The Substation Centre for Art & Culture, Victoria (2011); CACSA Contemporary 2010: THE NEW NEW, Contemporary Art Centre of SA, Adelaide (2010); Wynne Prize for landscape painting, Art Gallery of New South Wales, Sydney (2008).

 

Collections include Artbank, Sydney; Art Gallery of South Australia & private collections.

'To describe Christian Lock's work as a painting does not quite encompass the nature of this practice. He works with painting, interrogating its components and parts, examining their roles and possibilities before pulling them back together in the final object. The impulse to push past the traditional limits of painting draws a lineage from Contemporary Abstract painting to the ideas of late 1960's Modernist Abstraction and "Light and Space; art of Californian Minimalism". Referred to as "Finish Fetish: artists they aligned their aesthetics with Californian car and surf culture, appropriating new innovative industrial materials such as resins, plastics and auto enamels; the resulting reflective forms acknowledged light and space as integral considerations working to remove the boundaries between painting, sculpture and architecture.

 

His recent work employs a range of novel analogue and digital painting methods in combination with industrial substrates, plastics and resins, testing their gestural and spatializing qualities and their potential to break free from a two- dimensional plane while reassessing painting's physicality.

 

Sampling and repurposing a diverse range of forms, motifs and strategies from Modernism, the industrial processes and materiality of minimalism and hybrid language of Post Modernism and Pop Culture, the paintings become 'remixes'; creating new tracks from fragments of old songs, full of quiet nods to the history of painting whilst exploring its possibilities and suggesting its potential future.'

CHRISTIAN LOCK

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ChristianLockPortait.jpg

SYDNEY CONTEMPORARY                                  2022

Lock_STRYT.jpeg

SELECTED IMAGES                                      2017-2020

Lock1.jpeg

13th INTERNATIONAL CAIRO BIENNALE               2019

Hybrid-children-watch-the-sea-lo-res_edited.jpg

SPACE JUNKIE                                                     2018

Space-Junky_03-1_edited.jpg

QUICKSILVER                                                      2016

Christian-Lock-installation-view-Quicksilver-Samstag-Museum-2016-c.jpg.webp

                                                                          2015

Christian-Lock-lrg-untitled-2-cmyk.jpg

                                                                          2013

Untitled-1-1.jpg.webp

                                                                          2011

LOCK-Tsunami-me-tsunami-you.jpg.webp

                                                                          2009

No4_PossessionCMYK.jpg

                                                                          2007

IMGP5318_1.jpg.webp

                                                                          2005

Revenge-Of-The-Velvet-Sledgehammer.jpg.webp

                                                                          2003

30ChristianLock.jpg.webp
Sydney Contemporary

SYDNEY CONTEMPORARY
2022

Select Images

SELECTED IMAGES
2017-2020

EYES EAST BOUND 13th ICB

13th INTERNATIONAL CAIRO BIENNALE
2019

EYES EAST BOUND -

To describe Christian Lock's work as a painting does not quite encompass the nature of this practice. He works with painting, interrogating its components and parts, examining their roles and possibilities before pulling them back together in the final object. The impulse to push past the traditional limits of painting draws a lineage from Contemporary Abstract painting to the ideas of late 1960's Modernist Abstraction and "Light and Space; art of Californian Minimalism". Referred to as "Finish Fetish: artists they aligned their aesthetics with Californian car and surf culture, appropriating new innovative industrial materials such as resins, plastics and auto enamels; the resulting reflective forms acknowledged light and space as integral considerations working to remove the boundaries between painting, sculpture and architecture.

 

His recent work employs a range of novel analogue and digital painting methods in combination with industrial substrates, plastics and resins, testing their gestural and spatializing qualities and their potential to break free from a two- dimensional plane while reassessing painting's physicality.

 

Sampling and repurposing a diverse range of forms, motifs and strategies from Modernism, the industrial processes and materiality of minimalism and hybrid language of Post Modernism and Pop Culture, the paintings become 'remixes'; creating new tracks from fragments of old songs, full of quiet nods to the history of painting whilst exploring its possibilities and suggesting its potential future. 

SPACE JUNKIE