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Sydnie Jimenez (b. Orlando, FL 1997) received a BFA from the School of the Art Institute of Chicago (2020) focusing in ceramic sculpture and is a recipient of the Windgate-Lamar Fellowship (2020). Much of her work centers around the representation and humanization of black and brown youth in an American context. She illustrates in clay self-expression as a form of protest and self care to protect against a Eurocentric society founded on white supremacy and colonization. She has recently shown with galleries in the US and abroad including Albertz-Benda (LA), Moosey Gallery (UK), Mindy Solomon Gallery (Miami), and Anthony Gallery (Chicago). Jimenez was recently a long-term resident artist at Lillstreet Art Center in Chicago and previously at the Archie Bray Foundation in Montana. She currently lives and works in Chicago, IL.


Hi Sydnie! It’s a pleasure to sit down with you! First question that I always ask. How does a regular day look like for you in Chicago?
Sydnie: Thanks for the interest! Luckily art making is my day job, so I usually start my day off at the gym and then spend the rest of my day at my studio. I’m not much of a morning person so I am very happy to have south-facing windows which make most of the day sunny for me.

I’m curious, growing up what kind of kid were you? What did you enjoy doing, and how did you spend your time?
Sydnie: I was a pretty curious kid! As most kids were, I was very into drawing, cartoons, and pretty things. I went to a Catholic school in Orlando up until the 4th grade. A funny memory I vividly remember is when I learned that the mulch on the playground left a mark like a crayon. My sister and I got in trouble for drawing on the pillars outside and quickly learned that non-sanctioned public art is frowned upon.
Eventually, my mother moved her and her three kids to north Georgia which is where I spent middle and highschool. I definitely had an emo phase which started my love for alternative art and music. I love punk style, metal music, tattoos, and piercings. It’s definitely the anti-establishment idea of it all that resonates with me, and a light-in-the-darkness kind of thing. Beauty in pain. Maybe that’s just the Catholic guilt talking.


Alright, so when did you start to paint, and when did you start taking being an artist seriously?
Sydnie: I started painting around middle school. My portfolio for college applications included only drawings and paintings, but when I went to the School of the Art Institute of Chicago (SAIC) I was encouraged to branch out. I was curious about trying a 3D medium so I signed up for a Sculpture class. I then moved to taking classes in the Ceramics department and fell in love.


Ok Sydnie, with these next series of questions, I will try to delve into your work as best as possible… When did you start showing an interest in ceramics? And who taught you how to make ceramics?
Sydnie: In highschool I was introduced to clay so I wasn’t completely new to the medium when I got to art school. But Freshman year of college second semester I think it’s safe to say I was obsessed. SAIC doesn’t really have majors but I definitely treated clay like my major. I took some printmaking and metals classes but ultimately went back to ceramics. My first class was with the legend William J O’Brien, an inspiration to me still. What really struck me about his work and teaching is how fluid and unconventional he is with clay and class structure. There is a simultaneous playful yet seriousness that I have definitely adopted in my own work. I think the first impression one has with the medium most definitely affects the way one understands clay because some people teach that ceramics has a super strict set of rules. There really are no rules, only precautions.


What is it about ceramics that makes it your preferred medium of expressing yourself?
Sydnie: I think it is the lack of rules and strictness that lets me more easily express my ideas in sculpture form. I’m not saying it’s easy, you definitely have to have an understanding of the material to build big or make glazes. But that’s more like you have to put in the time, then you will slowly learn what clay likes and doesn’t like. For example, to build bigger sculptures you really have to understand the drying time of the clay. If you build too fast it will be too wet and can collapse. If you build too slowly it could dry up on you; and if you add too much water when it is too dry it can also collapse. So, definitely a fine line but very doable when you get comfortable with the medium. And clay is also very fixable! If you make a mistake you can just reuse and rebuild, very flexible.


Your sculptures often blend autobiographical and cultural elements. Can you tell me about how your upbringing or personal experiences influence your work?
Sydnie: So I grew up in north Georgia, and went to schools that were majority poor white. As someone with mixed descent, father from the Dominican Republic and mother from the United States, I didn’t see many people that looked like me. I experienced many microaggressions and blatant racism both publicly and within my family that I didn’t really realize until I was older. I had a complicated relationship with my father, may he rest in peace, but so thankful to my tias for all the love from that side of the family.
That being said, I definitely went looking for that representation and connection in art and media. I hope people from similar backgrounds see themselves in my work as well.



Your use of vibrant colors and exaggerated forms is striking. How do you choose your color palettes, and what role does humor play in your work?
Sydnie: Thank you so much! I am actually not picky with the clay and glazes I use, I am mostly aiming for an interesting variety of color and texture. I was definitely a broke college student so I would use what the ceramics department had and would always take people’s leftover materials to save money. In that way I developed a consistent style not exactly reliant on specific clay materials but more on the imagery and the way I am sculpting.


How do you approach blending traditional craft techniques with contemporary themes in your sculptures?
Sydnie: I think the most traditional technique I use is coil-building. It is a classic method of making ceramic objects. But I am really inspired by traditional Mesoamerican ceramic figures. I was first introduced to these by going to SAIC. The school is physically connected to the Art Institute of Chicago which has a beautiful collection of Moche, Nazca, and other Mesoamerican peoples’ works. I have always had a more cartoony style in drawing and my ceramic figure style came from me trying to translate my drawings to clay sculpture; so when I saw these ancient ceramics I felt a strong connection. I feel that when people learn about figurative sculpture it’s often Roman or Greek realistic busts and figures, more in a European canon with Eurocentric beauty standards. So I really loved seeing the more emotionally interpretative and less realistic look of these red clay figures. I use this inspiration blended with my contemporary outlook on personal expression and representation to create my figurative works.


Many of your pieces feel both playful and poignant. How do you strike that balance?
Sydnie: Comedy is a great way to acknowledge and explore trauma without scaring people off. Instead, I try to have a playfulness and cuteness to the overall look of my works to draw people in and hopefully they stay for a deeper exploration and understanding.
Your work often portrays young people navigating cultural hybridity. What do you hope viewers take away from these depictions?
Sydnie: Everywhere I have lived I have been friends with young people navigating cultural hybridity. My friends down South in Georgia and Tennessee are some of my biggest inspirations because they know the same kind of economic and societal struggle I have known and yet still show so much passion for their crafts and community. It’s hard not to grow up with other kinds of people in America. It is a land of immigrants, so naturally there is a push and pull of identities. With such varying ideas religiously and socially, I at least have come to the conclusion that I can keep what identities make me feel joy and purpose. I think this is what many people aim for, a sense of community and fulfillment. And making art definitely does that for me.

So who are those people you’re creating?
Sydnie: Unless I’m trying to make a portrait of someone, these aren’t specific people. More like the result of inspiration by my peers, family, and friends. I clearly love to sculpt a face, and I have found that once something has a face it is very easy for people to connect with. And I like to add variety with different ways to express oneself such as fashion, facial expression, and body language. I hope with my work that people who don’t normally see themselves in “fine art” can find a connection and see the beauty and light in themselves as well as relate to the ups and downs of human emotion that I try to depict.
What advice would you give to emerging artists who are working to find their voice and audience?
Sydnie: I would say put in the work in and out of the studio. So, definitely put in the hours making what you want to make. Iterate, reiterate, come up with something new, rework a past idea. But then also go out and be inspired, go see gallery shows, museum shows, murals, public art, nature. Mingle, meet people, make connections, make social media connections. I actually get a lot of inquiries from my Instagram presence, it has been very helpful in landing myself exhibitions. At the same time don’t forget to take care of yourself! You need a healthy mind and body (or at least be working on it) to produce art and be your own spokesperson long term. Being an artist is not just art making but also being in charge of communications, social media manager, packing and shipping, public speaker, etc. It takes a lot of energy but is definitely rewarding.

Can you also tell me about your use of symbolism?
Sydnie: I sometimes tend to go down a Christian spiral with imagery thanks to my Catholic upbringing. Although I wouldn’t consider myself religious, I would say I am a spiritual person. I like to make figures inspired by the idea of angels and demons as guardians. Angels of course, guardian angels, because I think we are each other’s guardian angels. We have to look out for each other through good and bad times. And demons, well, when I think of who has been demonized in a white supremacy-centered colonized society, who is it? People of color, queer people, immigrants, disabled people, the list goes on. Anyone who is not the Eurocentric beauty standard. I think of so many peoples and cultures almost wiped from the face of the earth in the name of “God”, when clearly it was for resources and power. So, I guess when I give figures “demonic” symbolism such as horns or claws, to me it is like a reclamation of power or like a visual manifestation of protection. Like a beautiful dont-fuck-with-me kind of thing.


In a parallel universe who would you be? and what would you be doing?
Sydnie: When I was thinking about college in highschool, I was torn between art school or culinary school. I guess I would be a chef in another life, following in my dad’s footsteps. You know, it’s still artsy and creative just maybe with a more direct and consistent connection with people.
Can you tell me a story about a time when a connection with someone had a big impact on you?
Sydnie: I think having a twin sister who is also an artist has made a huge impact on me. Haylie, my twin, also works in clay but is more into 2D art such as drawing on clay and paper. She also makes comics and animation. We have both gravitated towards figurative non-realistic art-making, so there is definitely a visual tie between our works yet with very individual characteristics. I think that’s how you can describe twins in general, too. We share a lot of similar experiences obviously because we grew up together which has informed our works in similar and different ways. I’m very lucky to have a sibling and art partner to challenge and grow with.

What qualities do you find most important in the people you choose to spend time with?
Sydnie: I am very drawn to people who are passionate and honest. As an artist I am friends with many kinds of artsy people like musicians, painters, chefs, etc. A lot of people don’t consider themselves artists, but if you hone a skill or throw yourself into something then I consider you an artist. Running is an art, writing, djing; it doesn’t necessarily have to produce a pretty object to be an art. Anyway, I love to see a vigor for life because I know how much of a struggle it can be.
Anybody you look up to?
Sydnie: I look up to so many, my mother being number 1. Single mom with 3 kids? Can she be anymore amazing?


What motivates you?
Sydnie: I think being thankful for what I have and the people around me really motivates me. The fact that I have really genuine friends and family who support me and my dreams has helped me get through a lot. I also grew up with a very hustler mindset, always work and save money. Even when you’re good financially, just keep going. Just in case! I’m not sure how healthy it is, but it is how to pay the rent.
Alright Sydnie, I always ask these two questions at the end of an interview. The first is. What’s your favorite movie(s) and why?
Sydnie: I absolutely love The Crow (1994) and 10 Things I Hate About You (1999). Definitely nostalgic, but also love the punk vibe of the Crow and I love a good rom com. I think I am a romantic.
The second is. What song(s) are you currently listening to the most right now?
Sydnie: On SZA’s latest album I am obsessed with her song “Kitchen.” Very dreamy sad girl. And I have been listening to Peso Pluma, I love this song he’s featured on called “Dos Dias.”