Lincoln Austin | Sometimes I like to Pretend I’m A Robot
Medium is as varied as subject in Lincoln Austin's twentieth solo exhibition 'Sometimes I like to pretend I'm a robot'.
Divided between separate gallery spaces, Austin presents the exhibition in three parts comprising, coloured sculptural, two-dimensional and video works; black, white, and black-and white works (in the form of sculptures, embossings and inkjet prints); and a work that merges mediums in a video-sculptural installation.
With a focus upon optics and illusions, the works embrace the visual. The hand-crafted static artworks come to life once the viewer is engaged. Austin’s compositions play with the eye to extend the lines of paintings, or the movement of sculptures out into the viewer’s space.
Linked by concept rather than material, Austin’s prowess as an artists is on full display with his diverse sculptures made of wire, rock, glass, acrylic, aluminium, fibreglass fly-wire and wax nylon thread. Shown together there is movement between the delicate and the solid, the ephemeral and the tactile.
Partnered alongside the three-dimensional are shimmering two-dimensional works made of nylon tulle and matte board. As with his sculptures and video work, the nylon works play with optics – the textural shimmer catching the light creating movement as the eye moves along the geometric works.
‘Sometimes I pretend I’m a robot’ thrives on its affinities but even more so its diversity of form and content. Highly engaging, it presents an artist that is continually pushing himself in different directions and mediums, yet inherently anchored by his fascination with the optic.
EXHIBITION
Lincoln Austin | Sometimes I like to pretend I’m a robot
Until 25 November
Andrew Baker Art Dealer, Brisbane
Courtesy the artist and Andrew Baker Art Dealer, Brisbane.


Artificial intelligence will be used by young artists who started using it as kids on their phones. They will see it as a natural extension...
This year’s Biennale arrives under more complex circumstances than most. It is shaped by the profound loss of its curator, Koyo Kouoh (1967–2025), whose exhibition...
No artist creates in isolation. Every painting carries traces of the conversations, places and histories that shaped it, preserving within its surface a particular moment...
The weekend markets at Fairfield Showground have been one of Western Sydney’s great institutions for more than fifty years. Fresh fruit and vegetables, children’s clothes,...
In recent times, Yorgos Lanthimos has shifted toward photography, noting in a Guardian interview, 2026, that he needs respite, saying, “it might be a couple...
In Australia, political cartoons were altered by several events during the 1960s: the arrival of Les Tanner’s (1927‒2001) instinctual wit at The Bulletin, Bruce Petty’s...
Recognition of the importance of early bark paintings and their link to the world’s oldest continuing culture, is what makes them both highly sought and...
I had come to see my daughter sing in Deborah Kelly’s Creation Choir and was fortunate enough to make it inside the gallery for the...
Cuban-born, Brisbane-based artist Jorge Mariño Brito’s practice unfolds across two material registers that are best understood not as parallel tracks but as entwined explorations. Both...