Andrew Sinclair a leading novelist, historian and film-maker. He was a Research Fellow at Harvard and Stanford, Cambridge and University College, London. He published and edited 60 classic screenplays, including The Blue Angel and The Third Man featuring Graham Greene.
Further to this, he also directed the timeless film of Under Milk Wood with Richard Burton, Peter O'Toole and Elizabeth Taylor, re-issued to celebrate the centenary of the birth of Dylan Thomas. His Boxes show his lifelong interest in films as an art form, in fantasy transport, in the Surrealism of the 20th century, and how they changed our times into works of the imagination.
IN ANDREW SINCLAIR's OWN WORDS:
Film is Art. Paintings are set in Frames - and so are Motion Pictures.
FROM OUR BLOG:
Andrew Sinclair and Timothy Langston - A Match Made in Heaven
Films: Artwork in Flow
Andrew Sinclair: His Life and Art
Exhibition: Film is Art (22-26 April 2015) The Magical World of Andrew Sinclair
See our exhibition-inspired pin board on Pinterest
Andrew Sinclair recalls working with Peter O'Toole, Richard Burton and Elizabeth Taylor in his Dylan Thomas adaptation - BBC
Director Andrew Sinclair explains why Lower Fishguard was the perfect location for filming Under Milk Wood - BBC
Director gifts rights for Dylan Thomas' Under Milk Wood to Wales December 2012 - Wales Online
Andrew Sinclair - Faber & Faber
Melvyn Bragg and guests discuss surrealism. ‘Si vous aimez L’amour, vous aimerez Surrealisme!’ - BBC
I was introduced to Andrew Sinclair and his boxes by a friend at a party last year and immediately fell in love with the fantasy of his creations. Each box tells a story and as a collection they allow us to journey through the 20th century. As I studied each of them, I found myself drawn into surreal parodies of transport, war, horror, movies and space flight. After a bottle or so of Champagne and talking to Andrew, I felt there was a great deal of creative potential for telling his story while displaying his art.
Surrealist art has always captivated me and the nature of these works appeals to my nostalgic fascination with the twentieth century. There is also a childlike quality to them which in turn pulled me back to my own childhood. I am looking forward to combining these time capsules with my existing antiques stock. They have both a remarkable antiquarian appeal and tremendous visual impact, each being self-contained and presented as a stage set. Andrew regards them in a way as his 'lost film sets' and they allow us to explore the depths of his remarkable imagination.
As an antiques dealer, I love the discoveries you make on your travels and the people you meet every day. I am therefore excited to be extending our reach to this medium at a time when there is increased interest in the art of diorama. In working with Andrew, we feel we are capturing and celebrating this world for the generations to come, before it disappears forever. The whole creative process of working with a film director has provided us with so many ideas which we will apply to future projects.