Date of Birth: 19 November 1948

Key Qualifications:
1971       BA(Cantab.)  Architecture
1973       Diploma in Architecture
1974       MA(Cantab.)  Architecture

Key architectural projects include:

  • The Chelsea and Westminster Hospital, Fulham Road, London

  • The Sainsbury Wing of the National Gallery Trafalgar Square, London (in association with Robert Venturi, AIA Gold Medal)

  • Unilever Food Research Laboratory, Hertfordshire (Civic Trust Award)

  • Hinchingbrooke Hospital ACAD (NHS innovation Award)

  • Barts and The Royal London Hospital on both the City and Whitechapel sites 

  • Treviso Teaching Hospital reconfiguration (In association with Lapi and Partners)

  • The Christie Proton Beam Treatment Centre, Manchester (Manchester Architecture Award 2018)

  • Kuwait Children’s Hospital

Exhibitions:

Solo

  • New Stanley Art Gallery, Nairobi, Kenya, 1967

  • Studio Callebert, Roeselare, Belgium, 1968

  • Gallerie Britannique, Ieper, Belgium, 1969

  • Heffers Art Gallery, Cambridge, England, 1969

  • Cambridge Footlights, Edinburgh, Scotland, 1970

Group

  • New Stanley Art Gallery, Nairobi, Kenya, 1967

  • Cambridge Footlights, Edinburgh Festival 1969

  • Trinity Hall, Cambridge, England, 1970

  • Brick Lane Gallery, London, England, 2016

  • Russell Gallery, London, England, 2016

  • North Surrey Artists, Barbers Art Gallery, Woking, England, 2017

  • North Surrey Artists, Guildford House Gallery, England, 2018

  • Art @Clyde& Co., Guildford, England, 2018

  • Guildford Art Society Autumn Exhibition, Guildford House Gallery, England, 2018

  • Guildford Art Society Spring Exhibition, The Pavilion, Guildford, England, 2018

  • Guildford Art Society Autumn Exhibition, West Horsley Place, England, 2019

  • Guildford Art Society Spring Exhibition, The Pavilion, Guildford, England, 2020 - on line due to Covid 19 lock down

  • Society of Catholic Artists on line exhibition 2020

  • AppArt, Annual Show, Godalming, England, 2020 - on line due to Covid 19 lock down

  • VAA International On Line Exhibition, 2021, (Editor's choice)

  • Broadway Festival Exhibition 2021 Finalist

  • Guildford Art Society Autumn Exhibition, West Horsley Place, England, 2021

  • DC & Friends, Denbies, Dorking, 2022

  • AppArt, Annual Show, Godalming, England, 2022


Sinclair Webster claims he must have been painting and drawing all his life.

He remembers daubing the wall by his cot one afternoon to his mother’s chagrin. There were painters in her family in Belgium and he was encouraged to emulate them. One of his earliest memories is of winning an art prize at Clergy High School in Khartoum before his 9th birthday, when he was sent back to England to be tamed. He painted and exhibited with one-man shows in Nairobi where the family was then living, before he went to University and carried on doing that while allegedly studying Modern Languages. He changed course after his Tripos Part 1 to Architecture. He became an architect for many years, thinking he could paint in his spare time and in the meantime, it would pay the bills. Instead, it consumed all his creative energy, so painting was put aside except for once every few years.

While at university, he participated in group shows with contemporaries and held one-man exhibitions in Nairobi, in Ypres and Roeselare in Belgium, in Cambridge, London and in Edinburgh. More recently he has shown in London and Surrey.

He practiced as an architect for 40 years, particularly in the healthcare and research sectors, in the UK, Europe and the Middle East. Professionally his work was known for challenging accepted ideas and introducing new norms. He has published a number of articles and participated in healthcare design research programmes at MARU.

Architecture is a team sport relying on many others to develop a design and then build it, whereas painting is personal, based on the interaction between imagination and the artist’s hands, with the pleasure of immediate results. After designing large hospitals in the UK and abroad as a career, he has now returned to painting and drawing full time. For the last six years he has been a full time professional artist. Now running a successful web site selling original works, Sinclair has received certificates of commendation for participation in national and international shows.

Sinclair says he is Anglo Flemish, a self-taught artist, working from recollections of people, animals and landscapes, from Africa, Flanders, the Cairngorms, North Yorkshire, Surrey and Sussex. His pictures echo Flemish and German Expressionism.

He was encouraged by his parents to continue to draw and paint as he went through school. He says he owes a lot to his art master at Worth, Anthony Renouf, as he painted in the Art Room alongside the students and allowed the serious art geeks to use the space in the evenings and at weekends.

He likes to draw. All his ideas have a strong graphic base. When he was an architect his meeting notes and printed emails were littered with little sketches –boredom has its uses - usually bound by a frame line. Sometimes he saved these sketches, tearing them out of the sheet, but mostly they were deleted when the notebook was completed and thrown away.  They were simple, quick single line graphic notes that emphasised key shapes. He still draws that way. Shapes and the rhythms between them have always fascinated him.

Sometimes the idea is contained within a frame line, sometimes it breaks out. By drawing he recalls the essence of whatever it was that inspired the image. He uses an A6 notebook, sometimes to transfer and develop these notes or sometimes to directly set down an idea. He says can’t think on a bigger piece of paper. Size comes later.

He paints people, animals and landscapes, which struck him as being visually charged. They all come out of personal experiences. Wordsworth wrote about poetry being emotion recollected in tranquillity; he calls these visions “charismatic moments”. 

Then when he decides to make a painting, the composition gets transformed by new boundaries as the canvases are never in the same proportions. He asks the image how it wants to be and he watches it change.

He says he has no style, the way he paints varies according to the subject matter but he is always experimenting. He loves colour. He has never been taught how to apply paint. He learned from watching Renouf painting and thinking about the marks on the canvasses of painters he admires. Colours are varied by the texture of the brushstrokes with which they are set down. Areas of flat colour are given life through texture. He likes to play in the resultant painting, grading or contrasting colours and textures as the image suggests. He disregards perspective, working in pictorial space. He is trying to eliminate the superfluous but at the same time hold on to serendipitous incidents. The drawing remains as heavy black outlines or areas of unpainted canvas around the colour blocks.