Michael Scott

  • Michael Scott
    #C18 0818.15, 2018
    Peinture émail sur aluminium
    45,7 x 45,7 cm

  • Michael Scott
    #C12 1018.19, 2018
    Peinture émail sur aluminium
    30,5 x 30,5 cm

  • Michael Scott
    #C12 1018.20, 2018
    Enamel paint on aluminium
    12 x 12 inches
    30,5 x 30,5 cm

  • Michael Scott
    #C12 1018.21, 2018
    Enamel paint on aluminium
    30,5 x 30,5 cm

  • Michael Scott
    #C12 1018.24, 2018
    Peinture émail sur aluminium
    30,5 x 30,5 cm

  • Michael Scott
    #C12 1018.45, 2018
    Peinture émail sur aluminium
    30,5 x 30,5 cm

  • Michael Scott
    #C12 1018.39, 2018
    Enamel paint on aluminium
    30,5 x 30,5 cm

  • Michael Scott
    “Untitled (#45 M)”
    2014
    Enamel on aluminium
    76,2 x 76,2 x 1,9 cm

  • Michael Scott
    #135, 2018
    Peinture émail sur aluminium
    101,6 x 76,2 cm / 40 x 30 inches

  • Michael Scott
    #142, 2018
    Peinture émail sur aluminium
    81,3 x 121,9 cm / 32 x 47 15/16 inches

  • Michael Scott
    #143, 2018
    Peinture émail sur aluminium
    121,9 x 81,3 cm / 47 15/16 x 32 inches

  • Michael Scott
    #C18 0718.05, 2018
    Peinture émail sur aluminium
    45,7 x 45,7 cm

  • Michael Scott
    #C18 0818.13, 2018
    Peinture émail sur aluminium
    45,7 x 45,7 cm

  • Michael Scott
    “Untitled (#44 M)”
    2014
    Enamel on aluminium
    76,2 x 76,2 x 1,9 cm

  • Michael Scott
    Sans Titre, 2013
    Enamel on aluminium
    38 x 38 cm

  • Michael Scott
    Sans Titre, 2013
    Enamel on aluminium
    38 x 38 cm

  • Michael Scott
    Sans Titre, 2013
    Enamel on aluminium
    38 x 38 cm

  • Michael Scott
    Sans Titre, 2013
    Enamel on aluminium
    43 x 43 cm

  • Michael Scott
    Sans Titre, 2013
    Enamel on aluminium
    43 x 43 cm

  • Michael Scott
    Sans Titre, 2013
    Enamel on aluminium
    43 x 43 cm

Reknown painter of the New York contemporary art scene, Michael Scott realizes, since 1989 paintings that are visual experiences pushed to the extreme. He juxtaposes narrow vertical lines in different colours on aluminium plates, usually square-shaped and of various sizes. His artworks bring the optical impact to such a level that it makes them almost impossible to look at. This disruptive experience underlines the artists extreme point of view on art. Putting asside subjectivity, he adopts a systematic and mecanical approach. In his last paintings, randomness is more present. Whereas in the 90’s, his paintings were more programmatic, in the sense that they were calculated very precisely, his more recent works integrate a more intuitive artistic approach which generates hesitations, changes and accidents inherent to this process.

Exhibitions