Seren Sanclêr* is a Fictive Digi Artist. Her work explores the construction of contemporary storytelling, simultaneously mirroring and dismantling a post truth world.
Sanclêr was born in Pembrokeshire, Wales in 1976 and raised by artist parents who dropped out in the sixties and relocated to the island of Ibiza during the late seventies. Her alternative and unconventional upbringing is reflected in her approach to her artwork which is explored through the medium of painting, photography and digital art. Thematically her artwork is usually autobiographical and confessional; exploring feminism, rave scene, the body, friends and family.
Spending the nineties in London she has also encapsulated the contemporary role of the nomadic artist by relocating to Hong Kong, Berlin and Dubai through the first two decades of the twenty first century. Seren Sanclêr is presently based between Cardiff and Lisbon reflecting the move away from art centres such as London.
Although very little is written about her as an artist it is suggested within the art world that that she mainly sells her work under several pseudonyms or to private buyers directly. Her exhibitions are exclusively by invite only with exhibitions merely lasting a few hours. In the spirit of 1980s rave culture her exhibitions are not in art galleries but in abandoned warehouses, old banks, large yurts and in people’s houses.
Recent work has concentrated on digital art and exhibiting through the Internet exclusively. She is currently working on Digital Gods and Goddesses of the Social Scene, a series of portraiture reflecting the interest surrounding an individual’s self-branding, selfies and the power of social media as a whole.
* Seren Sanclêr is a transfictive heteronym (Sylvester, 2016), the creation of Doctor Sara Sylvester. The construction of her identity as an ongoing art project documents an exploration into the device and use of the fictional women artist personas in recent visual arts practice specifically and analyses how these constructed selves operate as projections of feminist theoretical concerns.
Initially inspired by David Hockney’s swimming pool art, Sirens explores the pool and sea in relation to the female figure. Water is the most primal of all archetypes. Across cultures, water is seen as the driving element behind creation; as an archetype, water seems to possess a cleansing, renewing power and perceived as female. Thus it demonstrates women’s affinity with water, reinforcing the idea of restoration and endless possibilities of transformation.
These images explore the romance of this icon from a female perspective. The subjects float quietly across or under the surface of the pool in a playful dance. The illusory quality, of the continuously shifting female form in constant refraction creates a dreamlike – if not – mystical feel to the imagery.