Suzanne SCOTT
Suzanne
SCOTT


Biography / Biographie

Exhibitions

S_Scott_we_are_imcomplete_1

We Are INCOMPLETE I
Oil on canvas / Huile sur toile
24 x 36 inches / 60 x 91 cm


Suzanne Scott we are incomplete

We Are INCOMPLETE II
Oil on canvas / Huile sur toile
24 x 36 inches / 60 x 91 cm


Scott Suzanne we are incomplete

We Are INCOMPLETE III
Oil on canvas / Huile sur toile
24 x 36 inches / 60 x 91 cm


S_Scott_we_are_imcomplete_IV

We Are INCOMPLETE IV
 Oil on canvas / Huile sur toile
24 x 36 inches / 60 x 91 cm

“We Are INCOMPLETE  I- IV”, (Claudia Santiso),
oil on canvas, 24 x 36 inches, 2018,
by Suzanne Scott

   This is a series of four paintings, which explore the question of latent versus visible fingerprints. I am exploring how much or how little information we actually need forensically to identify a person, as well as make a statement on how much an individual reveals about himself or herself psychologically over time.

   The first painting in the series (“We Are INCOMPLETE I) has the least amount of scientific information from the fingerprint as well as from the psychological, emotional aspect of the individual; it reveals only bits of identity. It is spare and minimal as the viewer is left to make his or her own determinations on whom this work might be describing.

  As the paintings progress, (We Are INCOMPLETE II/ We Are INCOMPLETE III), more and more information, both scientific and psychological is communicated. They begin to fill in voids and better explain the whole, unique person.  A more distinct profile is being built both forensically as well as emotionally.

    By the final and fourth painting, (We Are INCOMPLETE IV), the most detail and information has been communicated. At this point, the individual is fully revealed. Now the portrait goes beyond the superficial and delves deep into the inner recesses of the emotional profile of the subject. All latent and visible prints have been overlapped and united, and the individual has also allowed an opportunity to be completely stripped bare as we get a glimpse into their subconscious.

   I have chosen Claudia Santiso as my subject for this series. She is a fellow artist as well as dear friend. She became the perfect person to complete this series with for multiple reasons; first, she has a medical condition known as “Essential Tremors”, this means that Claudia twitches and shakes constantly. This nerve disorder forbid me to ever get one true fingerprint from Claudia. Therefore, I had only bits and pieces of fingerprints to refer to, so the information had to be compiled slowly, pairing latent and visible prints. From the psychological aspect, Claudia presents her superficial self to the world, as we all mostly do, as a very different person than her true being reveals. She is dark and mysterious upon first encounter, as is represented in the first painting. However, as walls are broken down and Claudia allows you into her world, one sees her strengths and weaknesses, they become more and more beautiful, as this vulnerability is communicated in the second and third of the series. The final piece, illustrates a pure and shining soul, one that maybe Claudia herself even has difficulty accessing regularly, but this perspective is homage to that bright, indefatigable human spirit that we all carry within us.

« We are INCOMPLETE I – IV », Claudia Santiso),
huile sur toile, 60 x 91 cm, 2018
by Suzanne Scott

   Cette série de quatre toiles posent la question concernant des empreintes digitales latentes versus celles qui sont visibles. J’explore le quantum d’information nécessaire scientifiquement pour identifier une personne, et je cherche à constater combien révèle un individu de soi-même lors du passage du temps.

   La première toile de la série (We are INCOMPLETE I) contient le moindre montant d’information scientifique prise de l’empreinte d’autant plus concernant l’aspect psychologique et émotionnel de l’individu ; Elle révèle que des bribes d’identité. C’est épuré et minimal et c’est au spectateur de déterminer la personne décrite dans cette œuvre.

   Au fur et à mesure que les œuvres progressent (We are INCOMPLETE II / We are INCOMPLETE III), de plus en plus d’informations scientifiques et psychologiques se communiquent. Elles s’apprêtent à remplir les vides et à mieux expliquer cette personne unique. Un profil plus distinct se construit sur le plan scientifique et émotionnel.

   Arrivé à la quatrième et dernière toile, (We are INCOMPLETE IV), tout détail et toute information a été communiqué. A ce stade, l’individu se révèle complètement. Ici le portrait dépasse le superficiel et fouille à l’intérieur du profil émotionnel de la personne. Toute empreinte latente et visible se sont superposées et unies, nous permettant ainsi un aperçu de l’individu dénudé et de leur subconscient.

   J’ai choisi comme sujet de cette série Claudia Santiso. Elle est aussi une artiste et une amie très proche. Elle est devenu la parfaite personne pour cette série pour de multiples raisons ; d’abord elle souffre d’une condition 'tremblements essentiels’ ce qui veut dire qu’elle tremble constamment. Ce désordre neural m’a empêché d’obtenir même une seule et vraie empreinte de Claudia. Je n’avais ainsi pour référence que de petits morceaux d ‘empreintes et il fallait donc cumuler lentement l’information en mariant les empreintes latentes avec celles qui étaient visibles. Du point de vue psychologique, Claudia présente son côté superficiel au monde, comme faisons nous tous, comme une personne fort différente de ce que sa vraie identité présente. Tout d’abord elle paraît sombre et mystérieuse, comme on voit dans la première toile. Mais, au fur et à mesure que les murs tombent et que Claudia vous laisse entrer dans son monde, on perçoit ses forces et ses faiblesses, qui deviennent de plus en plus belles, lorsqu’elle communique sa vulnérabilité dans les N° 2 et 3. La dernière illustre un âme pur et étincelant, âme auquel Claudia elle-même doit parfois accéder régulièrement avec difficulté, mais cette perspective rend hommage à cet esprit humain lumineux et indéfatigable qui existe en nous tous.



Suzanne SCOTT Self Portrait Divorce

Self Portrait Divorce
Oil on canvas / Huile sur toile
61 x 61 cm


Suzanne SCOTT Williams syndrome

I  have the Williams syndrome 
Oil on canvas / Huile sur toile
46 x 45,70 cm


Suzanne SCOTT Kevin

Kevin
Oil on canvas / Huile sur toile
30,50 x 30,50 cm


Scott, “Finger Print” Statement

  As an artist I feel I must identify my place in this world, I must explore and define the relationship that exists between myself, society, and culture. I do this by delving into the interconnections and bonds that I have between myself, and my loved ones. Recently, during a very difficult time in my life, I was overwhelmed by an outpouring of kindess, love, and support. This series is my homage to humanity, giving credence to those dear individuals as well as the new relationships that I develop. In very basic terms, I fingerprint those that are close to me; I scan the print, enlarge it, then turn the structure of
the print itself into an abstract, psychological, emotional portrait of them.

   My work is very involved with intuition, layers of consciousness, and different possibilities in personal life. I keep trying to innovate and develop my own language to communicate a visual documentation of the crossroads of life, exploring the junction of the seen and unseen. Repetitive, overlapping, and concentric lines that are carried out with methodical precision and micro-decision making is my means of attempting to explain a life story. This is the DNA of my work. By focusing painstaking, obsessive attention to a non-representational image that is based on the fingerprint, I am trying to mine an idea. Each painting is its own separate entity, exposing someone’s personality. The fingerprint in and of itself, so beautifully conveys the concept of each individuals unique experience and life story. I have found so much information within the whorls and lines belonging to each person that correlates sometimes directly to their quality of life and the specific circumstances they have been exposed to throughout their lifetime.

  These paintings attempt to translate complex emotional, ethereal ideologies to create a timeless yet unconventional  portrait in oil on canvas.  A quote from DeKooning that I connect with is that, “I paint this way because I can keep putting more and more things in it-drama, anger, pain, love, a horse, my ideas about space.”  The fingerprint, with all its lines and swirls enables me to include massive quantities of information regarding each persons life and character and my relationship to them.  The use of chaos as a scientific determining factor, to give some structure to an otherwise emotional work, helps me to engineer pictures to where they are neither one thing nor another. Creating something abstract, but that looks like something you should know in reality, the best of two worlds, is the attenuated quality that I strive towards. I feel that the closer the work comes to non-existence, the more exquisite and evocative it becomes.

   I throw all of my manias, loves, hates, traumas, and glories into a work that I hope will seduce people to escape inside the world of my work, while explaining the persona of someone close to me. To invoke that quality that compels us to look at something over and over and over again, to find that place where beauty is coaxed out of ugliness. To divulge, although in a secret, subtle, evanescent way, a way I suppose of not completely baring my soul too obviously, but still exposing the difficult emotional and psychic components of my life and my connection with those around me. It is a challenge to try to be true to who I am and not hide or be embarrassed to divulge my feelings in regard to my relationships with others.

   I am striving to take the next step of nakedness in my work, because when things become catastrophic and hysterical on the canvas, as they can be in life, is when invention and splendor emerges. I can only hope that my work, my world within a world, can connect to our collective unconscious, thus finding relevance. Ultimately, I try not to propose any conclusions within the work, but to allow it to be my mental and emotional narrative and hopefully tell the story of a few lifetimes.


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