scarlet black

Sydney Clare Checkland

Year:

2018

Media:

dye sublimation on aluminium

Size (cm):

133 x 75 x 25

London 2019

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Other works

scarlet

Sydney Clare Checkland

Year:

2017

Media:

dye sublimation on aluminium

Size (cm):

133 x 750 x 25

London 2019

tear

Sydney Clare Checkland

Year:

2018

Media:

dye sublimation on aluminium

Size (cm):

133 x 750 x 25

London 2019

Biography

Bio

Sydney Clare is an artist photographer: shortlisted for Jerwood Visual Arts Artist’s Bursary 2017, she received an Honourable Mention; Abstract for ‘pike 3’ in the International Photography Awards.


Fascinated by responses to her work as the viewer gets to grips with the idea of photography being truly abstract. The question of what the viewer is looking at remains a secret. The artist forces the viewer to work at interpreting what they are seeing.


Sydney Clare’s work as an artist follows an initial career as mechanical engineer making diverse products such as aero engines for Rolls Royce and riding hats for Thomas Townend. She drew upon her business experience to set up in interior design and secondly a jewellery company, but has found her true passion in photography. She now draws upon all skills to maintain a professional and disciplined practice, whilst enjoying new freedom, creativity and artistic innovation.


Portfolio review feedback at Arles 2016 was encouraging:


Hossein Farmini saw it as - 'brilliant – very graphic and very pleasing'.


Tim Clark of 1000 Words said of it – ‘On a large scale they must be incredible, Rothko-esk, where you sink into them. Beautiful, incredibly immersive and mysterious.'


Exhibitions include; Buy Art Fair 2016, Pittenweem Arts Festival 2016, Affordable Art Fair London and Hong Kong 2105, 20/21 International Art Fair 2015, Dulwich Artists’ Open House and East Neuk Artists Open Studios 2014, 2015, 2016, 2017.

Project

The objective is to create an intense, but calm space where clients can focus on the work and what effect it has on them. Building on previous exhibition experience, in different settings from industrial to gallery type spaces, I’d like to explore how my pieces react to a hotel room with all the connotations associated with such a space.

I have included my work ‘scarlet ‘and ‘scarlet black’ which I associate with Lynn Peters poem, ‘I suspect’, a suitable subject for a hotel room. Placing them next to the loneliness hinted at in ‘tear’ brings to mind my favourite lyric ‘There is a crack in everything’ ‘that’s where the light gets in’ by Leonard Cohen.

Sydney Clare Checkland