Born in Rochdale, 1969. Scott developed a passion for art as a young boy. During his late teens, whilst roadying for punk bands (UK Subs, The Exploited, etc.), Scott spent his free time sketching punks and designing album covers. It was this body of work that earned him a place at Cheltenham University, where he gained his fine art degree.
Scott then went on to become an art teacher, although he continued to paint and exhibit his own work. In 2006, his much-loved studio burnt to the ground and he lost a decade of his work.
In 2011, Scott moved his family to Verona and, picking up his brushes once again, began to draw the stunning architecture. With his passion rekindled, he returned to England and built a studio in his garden. He hasn't stopped painting since.
Emerging Figures Series
When I was starting out as a painter I was obsessed with the work of Goya and Rembrandt. I spent hours in galleries, observing their paintings from different viewpoints. I would stand very close to a picture, studying the ways in which the artist had physically applied the paint, working out which tools or implements had been used, assessing the viscosity of the paints and the speed and weight with which the marks had been applied. Up close you see the abstraction; you are viewing the painting on a minute and detailed level. I would then stand back, watching the transition as abstract marks transformed and cohered into readable figures.
In my earlier career, inspired by these masters, I would always focus on the figure before tending to the background, if doing so at all. But in my recent work I have chosen to flip this whole process on its head. I wanted to move away from what felt like the predictability of my process. My passion for the abstract has grown and become the starting point.
Now I begin a work by experimenting with techniques, paints, colours and tools, moulding and manipulating the background until something happens - as the results unfold, my subconscious mind is triggered and a figure reveals itself, reflecting and complimenting its background. The abstract now dictates the figure within; they paint themselves. My goal is for the two, the abstract and the figure, to sit comfortably together, each part of the other. I invite the viewer to get up close, to spend time looking at the detail - to experience the interplay of abstraction and legibility for yourself.