Sinclair was one of the key figures in the movement of contemporary artists in Glasgow in the 1990s, dubbed the 'Glasgow Miracle' by art curator and critic Hans-Ulrich Obrist.

Since the late 80s Sinclair has shown work in hundreds of group and solo exhibitions in the UK and internationally, producing various monographs of his artworks, notably If North Was South and East Was West [4] as well as writing texts and essays in many books and publications.

[8] Over the two decades of the Real Life project, Sinclair's work has employed various mediums including performance, painting and music, often at the same time.

[9] Throughout the course of the project, a consistent thread of Sinclair's work has sought to address the nature of the individual, collective and national identities of Scotland.

[11] The residency focused on the consistent themes of participation, performance and collaboration, coupled with Sinclair's use of music in his art throughout his career.

The orchestra presented a live performance at the opening reception of the Phase Three exhibition of CURRENT: Contemporary Art from Scotland,[12] which provided the soundtrack to Sinclair's installation consisting of multiple editions of banners and videos representing the 23-years of the Real Life project.

[14] In 2017 Sinclair exhibited at Inverness Museum and Art Gallery, in a solo-show titled After After After The Monarch of the Glen, Real Life Is Dead.

In Shanghai, Sinclair worked with local musicians, artists and singers to create the Chinese-Scottish Real Life Orchestra.

In 1984/85 joined his first band, Gods For All Occasions, featuring Neil Menzies and Raymond McGinlay, later a member of Teenage Fanclub.

For 5 years he performed on records and played concerts including Glastonbury in 1987, and supported bands such as Primal Scream and The Jesus and Mary Chain.