Down a Thin Thread, 2012
Acrylic, aluminium
600 x 600 mm
An introduction can be a wonderful thing. You can meet interesting people, and make new friends. You can be introduced to your new favorite foods, books, music, or artist.
I’d like to introduce you to some of my favorite artists. Some of whom I’ve been familiar with for years, and others I’ve only recently been introduced to.
The person I’d like to introduce is the artist Diane Scott.
Diane Scott lives in Auckland New Zealand.
Pointing to the Grey, 2013
Acrylic, aluminium
800 x 800 mm
Education
2011-2012
Master of Fine Arts (First Class Honours) Elam School of Fine Arts University of Auckland Under
the supervision of Gavin Hipkins, Allan Smith and Gwynneth Porter
2007-2011
Bachelor of Fine Arts (Honours) Elam School of Fine Arts, University of Auckland
Leave Your Order, 2013
Acrylic, enamel, polymer, aluminium
400 x 400 mm
“Diane Scott explores the tensions that exist between image and object, and questions the hierarchies of the elements that comprise painting through the jumping of the image to material and from surface to void. Examining how an abstract painting can function as an object you see but also in what that object makes visible through process, materiality and sensation.
Scott is interested in producing work that simultaneously questions and withholds, and how this resistance to translation is a vital part of an artworks enigma. Through the oscillation of surface to abyss, material to image and the works simultaneously reacting to light, the viewers reflection and architecture, the works function atmospherically, anchoring them in the ‘now’ of experience, yet still speaking to the concerns of Russian Suprematism and Malevich’s Black Square. Elements within the works recede and advance as the viewer navigates around, illusion and materiality merge and the surface of the work becomes hard to locate.
Scott’s current works are a response to Donald Judd’s idea that two of the most important elements in art are colour and space and that they are invisible. So the aim to separate the colour from the support led to Scott’s yellow halo’s behind the work’s where the viewer can see the colour but not the paint. This deferral of colour to located on or anchored to a support, elevates the support and it’s surface to object, in doing so this activates the colour to the architecture, and also allows colour to occupy real space. The Aluminium material supports are hand sanded back to explore how the material’s plane can oscillate from surface to abyss, some are painted and then wiped/sanded in a series of layers.
Scott has painted the works yellow because we don’t physically see yellow with our eyes; the cones in our eyes have receptors for red, blue and green, all other colours are perceived and read by our brain interpreting the amount of overlap of those colours. Yellow is also the colour that visually travels forward the most, and it’s the colour we are most likely to remember. Pigments are light refracting material which reflect, refract and absorb light. Pigments aren’t where the colour resides. Light is colour, pigment is shape, the works attempts to make visible colour, space and material.
Prior to studying at Elam School of Fine Arts, Scott’s art practice was primarily sculptural. This experience informs the current works.”
All Things Being Equal, 2013
Enamel, aluminium
417 x 417 mm
Other material relating to Diane Scott.
Artist website: dianescott.net
Art Orbiter artist studios: Diane Scott
Celeste. Network: Diane Scott
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Painter's Progress 