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“Scott’s a real character! Where does the impulse come from?” Well, if those volcanic personalities who ruptured our understanding of the real - Cezanne, Matisse, Gauguin and the like - are correct, color is the language to express artistic sentiment and aesthetic judgment. It is the primary language through which Scott speaks of his perception of reality.
A glance about the room tells you that Scott has an expansive, but efficient vocabulary. When the simplicity of subject requires it, he will speak to you in primary colors, as in “Let the Gypsy Lady Step Forward” and “Petunias.” Then, he will draw you playfully into the cartoon hues of “’Neath the Moon,” “Seven Alumettes, and Tipster.” Finally, he will remind you that the real power of language lies in metaphor and symbol, when color and form conspire to express mood and meaning. In “Birdhouses of Luray, No. 1,” “Pearls,” and “Summer Vertigo” he gives us a kind of quilt sampler for a color and design seminar. His pearl onions in graphic design (“Pearls”) are “museum quality,” a fantastic play of light and dark across a field of rectangular and orbital geometric shapes. This is true technique, a conspiracy of craft and vision.
In “Summer Vertigo” the viewer steps into the garden of Eliot’s “Four Quartets”: the green hose, like a lithe ribbon snake, guides us past the toppled birdbath and on to the water splash beneath the spigot, but that splash seems more a sepulchre than a receptacle for spillage. Or is that the same thing? At last one sees that this drama unfolds on an ill-kept lawn that is slowly falling out of the lower comer of the earth. Those “Birdhouses in Luray" extend forth from the tottering earth, reaching out into wispy, cancerous clouds like NASA devices searching for life that can sustain itself into the future. This symbolic word play finally carries the eye to “Fresh Bankers,” where the patterned Egyptian tortoise and Matissesque fish are joined by a green fibrous bird-man, all fair game on the serving tray of existence.
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