Artist pro­file: syrett

Living Etc - - LIVING ETC / PARTNERSHIP -

artist and de­signer syrett’s hyp­notic paint­ings push cre­ative bound­aries be­tween art, de­sign and cou­ture With an im­pres­sive back­ground in tex­tiles, de­sign and fash­ion styling, SYRETT moved into fine art 14 years ago, and his work is now rep­re­sented in gal­leries and col­lec­tions around the world. SYRETT’S lat­est pieces use nail var­nishes and lac­quer in swirling, ab­stract paint­ings that are steeped in ro­man­ti­cism. We talked to him about his work…

What’s your process for cre­at­ing an im­age?

I start by choos­ing the right colours, and I’m very for­tu­nate to be work­ing with True Brit Lon­don nail var­nish and us­ing its colour lab, which is a trea­sure trove of beau­ti­ful pow­der pig­ments. One of my favourites at the mo­ment is based on mi­cro­scopic pyra­mids that cre­ate an iri­des­cent colour change, de­pend­ing on how the light hits them. To be­gin with, I worked with 10x10cm im­ages, which were pho­tographed and en­larged to cre­ate colour prints ten times their orig­i­nal size. More re­cently I’ve been paint­ing on square me­tre-sized pieces of Per­spex and alu­minium. Mov­ing the var­nish is chal­leng­ing on this scale, so I use glaziers’ suck­ers to hold and ma­noeu­vre the per­spex.

how im­por­tant are trends?

Fash­ion de­sign­ers have to an­tic­i­pate or cre­ate trends – and as a tex­tile de­signer, I worked four years ahead of pro­duc­tion. Now, as an artist, I have the free­dom to be an im­age maker in real time, though I still work sea­son­ally, cre­at­ing two col­lec­tions a year. Fore­cast­ing change and be­ing dif­fer­ent are re­ally im­por­tant to me.

What’s your cur­rent style?

I de­scribe my art as haute cou­ture ab­strac­tion.

any ad­vice for some­one buy­ing art for their home?

Buy what you like – in­vest­ments can be tricky in the art­world. If you love look­ing at it, that’s enough.

if you could own one paint­ing, what would it be?

Bild­nis Der Jour­nal­istin Sylvia von Harden by Otto Dix. It was painted dur­ing a dif­fi­cult pe­riod in Ger­man his­tory and in­spired the open­ing scene of Cabaret.

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