KEVIN SINNOTT//A Retrospective: 1973 -2004


Before I had any sense of history; before my horizons had spread not far beyond the free-time jaunts of a village in South Wales , and the torch of ambition had barely flickered; before this, I was aware of the significance of Paul Cezanne's painting. Such is the effectiveness of modern mythology perhaps, that such a strange cultural juxtaposition could occur. Nevertheless it was through the fullness of the respect paid to Cezanne by the twentieth century that the nineteenth century master of Aix could have reached my outpost and, in turn, send me scuttling beyond.




Pastel & Tempera on Cotton / 80 x 140cms// At the tail end of my 'transparent form' period.
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Pastel & Tempera on Cotton/ 70 x100cms// At the tail end of my 'transparent form' period.
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Pastel // A1/ Gavin was born in the June, Matthew was four in August, I had started work in the Post Office, and was independently digging-in with ideas about flatness and all-over compostions.
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Acrylic and Pastel on Paper // A1/ Gavin was born in the June, Matthew was four in August, I had started work in the Post Office, and was independently digging-in with ideas about flatness and all-over compostions.
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Acrylic and Pastel on Paper // A1/ Gavin was born in the June, Matthew was four in August, I had started work in the Post Office, and was independently digging-in with ideas about flatness and all-over compositions.
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Pastel & Tempora on Cotton / 122 x 160cms/ A very cool painting indeed.
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Pastel & Tempora on Cotton 120cm x 160cm// At the tail end of my 'transparent form' period and while I was trying to clarify the space I played for a while with an idea of time and sequence. The layers of drawings in the TF pictures were not executed at once - each layer was drawn seperately. Here I demonstrated a sequence in the separation by not overlaying and by stopping after executing one drawing in order to turn the canvas round to do the second drawing. The wrist whatch was a clue. I felt that each drawing had to be executed without hesitation or adjustment. I can remeber being so excited at it's success that I threw the pot of paint up at the ceiling.
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Acrylic and Tempora on Cotton //120 x 160cms //
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Pastel & acrylic. 122 x 166cms One of a short series of Paintings where I used the plastic realities of my work as a Postman to inform my then current involvement in my painting with Cubism. They heralded the start of a very successful period of critical acclaim. John Golding - my 3rd year tutor in the College - visited my studio in Clarkenwell, and spoke to Jenny Stein who gave me a show in House Gallery. Then, coincidentally, Patrick Caulfield selected my painting for a runner-up prize at the John Moores in Liverpool.
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Pastel & acrylic. 122 x 166cms // One of a short series of Paintings where I used the plastic realities of my work as a Postman to inform my then current involvement in my painting with Cubism.
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Pastel & acrylic. 122 x 166cms // One of a short series of paintings where I used the plastic realities of my work as a postman to inform my then current involvementin my painting with Cubism.
Step closer
Pastel & acrylic. 122 x 166cms // One of a short series of Paintings where I used the plastic realities of my work as a Postman to inform my then current involvement in my painting with Cubism.
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