Suzanne SCOTT

group exhibition 4 07

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

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

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

We Are INCOMPLETE IV
 Oil on canvas / Huile sur toile
Dim : 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.

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

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

Kevin
Oil on canvas / Huile sur toile
Dim : 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.

Biography/Biographie

I have been drawing and painting since I was a little girl; art chooses you, I don’t feel like you have a say in it. I started very young by copying master paintings out of a book from the National Gallery of Art that my Mother had. After I won my first international art contest at 8 years old, I was officially hooked and knew I’d pursue art the rest of my life. I attended Governor’s School for the Arts during my high school years and some years later, went on to study human anatomy at the Art Student’s League on 57th street. From there I began working as a medical illustrator and continued painting. This background enabled me to develop the skills necessary to go back and forth between realism and non-representational work.

The abstract expressionists and minimalist artists of the 50’s and 60’s are where I draw my inspiration from; Kline, Motherwell, Reinhardt, etc. Interestingly, my work is visually almost the complete opposite of these styles. Packing as much detail and information into each work is a way for me to empty my head, a sort of therapy, and a way to tell that story. I adore traveling and I spent a significant amount of time motorcycling across America. These were some of my favorite years and they definitely impacted my visual vocabulary. For the past 15 years plus, I have been fortunate enough to have Chuck Close mentor me. This is where I really learned color theory, as well as a strong work ethic; his guidance has been invaluable. I continue to paint in my Park Slope studio and continue to pursue my investigation in creating abstract portraits based on natural patterning found in the human fingerprint.
The advice I’d give to young artists just starting out is to constantly sketch and draw from life, whether it be the figure, or landscapes or whatever happens to be in front of you. This hones your skills and allows you to be a more successful artist in whatever style ultimately suits you. Finding your aesthetic voice and figuring out what you want to say to the world takes time, so travel everywhere, see everything, read every book, visit every museum. And then ignore everyone and paint from your deepest emotions.

 

 

 Je dessine et peins depuis mon enfance; l’art vous choisit, et je ressens que je n’avais pas de choix. J’ai commencé très jeune en copiant les peintures des grands maîtres dans un livre de la National Gallery of Art appartenant à ma mère. Ayant gagné mon premier prix de l’art à l’âge de huit ans, j’étais convaincue que je poursuivrais l’art le restant de ma vie. Pendant les années du lycée je suivais des cours à la Governor’s School for the Arts, et, quelques années plus tard, j’ai étudié l’anatomie humaine chez The Art Students’ League, situé au 57th Street. Ensuite j’ai commencé à travailler comme illustratrice médicale et j’ai continué à peindre. Cette situation m’a permis d’alterner entre le réalisme et le travail non-représentatif.
Ce sont les artistes expressionnistes abstraits et minimalistes des années 50 et 60 qui m’inspirent: Kline, Motherwell, Reinhardt etc. Intéressant de noter que mon travail est visuellement presque l’inverse total des leurs. Mettant le maximum de détail et d’information dans chaque oeuvre représente pour moi le moyen de purger le cerveau, une sorte de thérapie et un moyen de raconter une histoire. J’adore voyager et j’ai passé pas mal de temps à traverser les Etats Unis à moto. Celles-ci étaient parmi mes années favorites et elles ont eu un impact important sur mon vocabulaire visuel. Ces dernières quinze années j’ai eu la chance d’avoir Chuck Close comme tuteur. C’est avec lui que j’ai appris la théorie des couleurs et aussi une forte éthique de travail; ses conseils sont irremplaçables. Je continue à peindre dans mon atelier à Park Slope et à poursuivre mes recherches en créant des portraits abstraits basés sur la configuration naturelle de l’empreinte digitale humaine.
Si j’avais des conseils pour de jeunes artistes qui se lancent, cela serait de dessiner constamment, soit le figuratif, le paysage ou bien ce que vous voyez devant vous. Cela vous aidera à perfectionner et mieux réussir dans le style qui vous convient le mieux. Retrouver votre voix esthétique et apprendre ce que vous voulez dire au monde prend du temps, donc voyagez partout, regardez bien, lisez tous les livres, allez aux musées, puis ignorez tout le monde et puisez vos émotions les plus profondes comme inspiration.

SUZANNE SCOTT
23 Waverly Place #5V
New York, NY 10003
646.478.6796
suzanne@scottfineart.com
www.scottfineart.com

EDUCATION

15 plus years of critique and criticism on art from Chuck Close
4 year human anatomy study with Michael Burban
The Art Students League of New York, New York, New York
Mason Gross School of the Arts, Rutgers University, New Brunswick, New Jersey
New Jersey Governors School, Trenton State University, Trenton, New Jersey

GALLERY EXHIBITIONS

Upcoming: 6th Annual Base’Art Festival of Mécénat and Contemporary Art, “Up Cycling: Group Show”, organized by the Union Patronale du Var, Frejus, France, June 2019
“Americans in Florence”, Group Show, Studio Abba, Collezione Stengel, Palazzo Rosselli del Turco, Florence, Italy, April 2019
“The Best of Bargemon; Le Festival de Bargemon Show”, Group Show, Beddington Gallery, Bargemon, France, February 2019
“Small, Mighty”, Group Show, LaBodega Gallery, Brooklyn, NY, December 2018
“14th Annual Small Works”, Group Show, 440 Gallery, Brooklyn, NY, curated by Nicole Kaack, December 2018
“InFlux”, Group Show, LaBodega Gallery, Brooklyn, NY October 2018
GemLucArt Exhibition, Auditorium Rainier III, Monaco, France, October 2018
“Re: Re: Patterns”, Group Show, LaBodega Gallery, Brooklyn, September 2018
“All Signs Pointing Towards: A Group Show”, Thompson Chemists, Curated by Hash Halper, SoHo, NY, August 2018
NYFCAB Le New York Festival D’Art Contemporain, Bargemon, France, July 2017
Frieze Week, Conception Art Fair, New Yok, New York, May 2017
Armory Show NYC, Saatchi Art, “An Evening of Art & Design”, Group Show, curated by Rebecca      
Wilson, MIMA, New York, New York, February 2017
Art Basel, Miami, Conception Art Fair, Wynwood Arts district, Miami, Florida, December 2016
Mayson Gallery, “Natural Selection”, Group Show, New York, New York, March 2016
Armory Week Salon, Conception Gallery (COGA), Group Show, New York, New York, March 2016
Conception New York 2016, Group Show, TriBeCa, New York, January 2016
The Museum of Russian Art, Group Show, Jersey City, New Jersey, October 2015
Colorida Art Gallery, Group  Show, Lisbon, Portugal, March-April 2015
Saatchi Art, “Artist of the Day”, Solo Selection, upcoming October 2014
Saatchi Art, “New This Week Collection”, Solo Selection, March 2014
Water Mill Square Gallery, Art Sprinter, Finalist, Group Exhibition, Southampton New York,
September 2013
See.Me, The Story of the Creative, Group Exhibition, Long Island City, New York, August 2013
Denise Bibro Fine Art, Art From the Boros, New York, New York, November – January 2013
Cristiano Cairati,  Group Show, Milan, Italy, March 2009
Wunderland Gallery, Recent Fish, Solo Exhibit, Cologne, Germany, October 2008
Finger Prints, Solo Show, Cristiano Cairati, Milan, Italy, July 2007
Avalanche Gallery, Pushing the Envelope, Group Show, New York, New York, 2005
United Nations Plaza, Solo Exhibit, New York, New York, 2005
Ezair Gallery, Orbis Lustralis, Solo Exhibit, Madison Ave, New York, New York 2004
Summit Visual Arts Center, Art Strings Group Show, Summit, New Jersey, 2004
Hamilton Club Gallery, Patterns of Imbalance, Solo Exhibit,
Passaic County Community College, Paterson, New Jersey, 2003
Dish Gallery, Solo Exhibit, Passaic, New Jersey, 2003
Artikles Gallery, Group Show, St. Augustine, Florida, 2000
The Art Students League of New York, Concours Show, New York, New York, 1994
Jersey City State College, Traveling Exhibition Group Show, Jersey City, New Jersey, 1991
Morris Museum, Fresh Perspectives Group Show, Morristown, New Jersey, 1990
 

PUBLICATIONS

“ArtMatr” Newsletter, “HealthMatr”, March 2019
“International Women’s Day: Five Female Artists You Should Know”, Conception Arts, March 2019
Voyage MIA, “Meet Suzanne Scott”, November 2018
 Blanc Magazine, Artist Profile by Addison Anthony, Spring 2018
 ArtThou Interview by Hege Heraldsen, September 2017
HiConcept Magazine, Interview by Sam Desmond, February 2017
Art Sprinter, Emerging Artist Awards, Interview by Katya Bychkova, June 2013
International Contemporary Artists, Volume VII, 2013
Hampton Jitney Magazine, Issue 2 Volume 2
Talent in Motion, Issue 4 Volume VII
Summit, Summer, 2004


PROFESSIONAL ACHIEVEMENTS

Rare Disease Day, Speaker and Panelist on behalf of “Beyond the Diagnosis”, Broad Institute of MIT and Harvard, Cambridge, MA February 2019
Nomination for Rome Prize at The American Academy in Rome, September 2018
Leading Panelist; selection committee/panelist for Conception Arts in partnership with Chateau Orquevaux Residency for 2019
Acting Vice President for the Board of The Rare Disease Foundation, “Beyond the Diagnosis”, August 2018
Residency, Bargemon, France, Painting, July 2018
Proposed for Award through Academy of Arts and Letters, October 2017
 Nomination for Rome Prize at The American Academy in Rome, September 2017
Residency, Orquevaux, France; Chateau Orquevaux, Painting, September 2017
“Art in the City”, Documentary by Ben Van Bergen; NYC Artists, currently in production 2014
GLAAD OUT Auction Benefit 2006 Metropolitan Pavilion, New York, New York ART STRINGS-2004, New Jersey Symphony Orchestra:
Painted violin auctioned to benefit New Jersey Performing Arts Center, October, 2003
ACUMED MEDICAL DEVICE
Polaris Shoulder Systems Brochure Illustrations, front and rear covers
Surgical technique illustration
Pfizer, Inc International Art Contest Grand Prize Winner
Shards Design, Visual Design Award Winner
New Jersey Craftsman Award
New Jersey Art Educator’s Award

“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.