Diana Sinclair, a visionary artist, weaves intricate narratives through her cyanotype creations, bridging past, present, and future. Her profound practice delves into the interplay of Black communal memory, water, and identity, offering a fresh perspective on historical traumas and personal resilience. Sinclair's artistic journey, marked by both a rapid ascent in the art world and a continuous evolution of her craft, highlights her commitment to exploring complex themes with raw honesty and innovative techniques. Her work is a testament to the transformative power of art, inviting viewers to engage with stories that are often overlooked, yet deeply resonant.
Hailing from New Jersey, Diana Sinclair burst onto the art scene with remarkable speed, notably securing a sold-out auction at Christie's. This early recognition, rather than confining her to familiar artistic territory, spurred her toward further exploration and the development of a distinct artistic voice. A pivotal moment in her trajectory was her residency at the prestigious Silver Art Project in the World Trade Center. It was here that she transitioned from her initial forays in Web3 art to embracing the ancient, unpredictable process of cyanotypes. This medium, with its captivating cobalt palette and inherent element of chance, became her chosen lens for examining the intricate historical and spiritual connections between Black communities and water, a theme deeply influenced by her own experiences as a swimmer.
Sinclair's cyanotype works are strikingly evocative, featuring softly rendered figures that appear suspended within sublime expanses of blue. These compositions are alive with dynamic motion and subtle tension, with each surface bearing the imprint of 'chance,' as she describes it. Her art navigates the delicate boundaries between the living and the departed, beauty and sorrow, and the personal intertwined with the political. Now 21, following her successful solo exhibition, 'Threaded Blue,' at Plato Gallery, Sinclair views her future with hopeful anticipation, likening herself to a 'small plant in a big pot,' signifying her readiness for continued growth and learning within the vast landscape of art.
Her creative development was significantly shaped by her parents; her father, a skilled artist in traditional mediums, and her mother, a natural storyteller. Homeschooled, Sinclair found herself at the intersection of their influences. Her father's guidance in foundational drawing instilled in her an appreciation for light, shadow, shapes, and lines, which now forms the bedrock of her perception and artistic expression. This unique upbringing fostered a deeply intuitive and expansive approach to art-making.
Reflecting on her artistic process, Sinclair often visualizes it as a spiral, continually looping back and connecting at various junctures, encompassing elements of time, memory, experience, and also separation. This cyclical nature is particularly evident in her series addressing young Black men who have drowned or had challenging relationships with water. A personal near-drowning incident in Costa Rica provided her with a profound, albeit retroactive, understanding and empathy that she imbues into these powerful works. This personal tragedy, though not initially the impetus, became an integral part of her artistic exploration, enabling a deeper connection to the narratives she portrays.
Despite her early acclaim, Sinclair has confronted moments of self-doubt. She recalls a pivotal experience at 13, winning a Brooklyn art competition, where judges commended her unconventional perspective, attributing it to her lack of formal training. This affirmation bolstered her belief in her unique vision. She likens preparing for a solo exhibition to releasing an album, a process of distillation and refinement, finding the precise language and message. This journey has solidified her understanding of her career path and reinforced her rightful place within the art world. Her innovative approach extends to her cyanotype technique; she even developed her own exposure chamber, acknowledging the medium's inherent frustrations while embracing the opportunities for unexpected outcomes that arise from error and evolution.
The themes within her 'Threaded Blue' exhibition are wide-ranging and deeply impactful. The square pieces specifically address the physical and spiritual implications of deaths during the Middle Passage, inspired by the concept of 'residence time' – the immense period it takes for the ocean to fully integrate something into its depths. This line of inquiry prompts contemplation on whether death by water fundamentally differs from a traditional burial, pondering the DNA of those lost at sea and the profound choices made by individuals who chose liberation over enslavement. Furthermore, Sinclair critically examines modern swimming culture and aquatic spaces. Her research into segregated pools, stemming from her personal experiences as a swimmer and the associated physical and emotional toll, informs her critique. She observes how American societal evolution is reflected in these spaces, revealing persistent tensions and historical suffering, even as broader mindsets progress. Sinclair frames water as essential to life, yet also a repository of trauma—mental, physical, and spiritual.
The title 'Threaded Blue' encapsulates her artistic philosophy, intertwining the fabric of her works with the notion of threads layering through time. She asserts a non-linear view of time, where the future can influence the past, prompting reflection on our present circumstances and the historical events that led us here. Sinclair champions mind mapping as a tool for organizing complex thoughts, allowing for associative connections and the emergence of underlying patterns between central themes and broader ideas. Her practice is profoundly spiritual, embracing the cycles of release, frustration, and alchemy that transform challenges into progress. She views her artistic journey with the discipline of an athlete in a 'championship season,' requiring presence and sustained effort, followed by periods of rest and exploratory phases that build artistic stamina and foster greater self-compassion.
Sinclair finds creative fulfillment through open dialogue and a willingness to surrender control over interpretations of her art. She approaches gallery interactions not as an authority, but as a student, recognizing that others' perspectives offer new insights into her work. This collaborative spirit, valuing the unexpected contributions of viewers, fuels her curiosity and informs her future projects. Her intensive research process involves engaging with academics like Jeff Wiltse, author of 'Contested Water,' and Kevin Dawson, whose work on 'Undercurrents of Power' resonates with her family's origins. She also connects with spiritual practitioners such as Ehemi Ora, who explores water in traditional African spiritualities, forging deep relationships that enrich her artistic world-building. These diverse influences contribute to what she describes as her 'Bible,' a constantly evolving collection of knowledge and human connections that shapes her profound and multifaceted artistic vision.