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Tim Scott
By: David Moos, Ken Carpenter
We are proud to announce the publication of our second book!
Published in conjunction with:
House of Clay: Recent Sculpture
Corkin Gallery
November 2 to December 20, 2008
The 60's: When Colour was Sculpture
David Mirvish Warehouse at Pacart
November 2, 2008 to April 19, 2009
for more details see our news blog
In the 1950s Tim Scott studied architecture, and simultaneously, attended the St. Martin's School of Art studying sculpture part-time. His early work was heavily influenced by his teacher, Anthony Caro. Scott moved to Paris to work at Atelier Le Corbusier-Wogenscky, an architectural firm and while there, he discovered photographs of the work of American sculptor David Smith. Smith was to have a strong influence on a generation of British sculptors in the 1960s.
Scott returned to London in 1961. Encouraged by Anthony Caro, he, along with other students at the St. Martin's school, rejected traditional methods and began to work abstractly. For an exhibition at the Whitechapel Art Gallery in 1965, they were dubbed the 'New Generation'.
While Caro and a few other students began using industrial steel, Scott chose instead to work with fibre-glass, a relatively new material for sculpture. By the mid-sixties, Scott was experimenting with different kinds of plastics and bold volumetric shapes of bright colour. The sculptural works in the book and in the current exhibition at Pacart are from this period.
From the foreword:
The roots of abstract painting and sculpture reach back to the beginning of the 20th Century. In those roots was the start of a new language. At times painting seemed to spill into sculpture. In the decade between 1910 and 1920 Jacques Lipchitz, Henri Laurens, Elie Nadelman, Pablo Picasso and the Russian Constructivists all made coloured sculpture.
By the early 1960s, the optimism that pervaded the Art World once more supercharged the dialogue between painting and sculpture. It was thought that sculpture could take the lead from painting and that colour would become three dimensional.
Tim Scott introduced colour and new materials and was very much part of what animated this idea. Kenneth Noland’s circle paintings were transformed by David Smith into painted steel sculpture, while Anthony Caro took weight away from sculpture and floated colour in space.
Painters and sculptors who engaged with Abstraction in the 1960s continued to develop and widen the text. They have brought us into the start of the 21st Century with an enormous vocabulary and much to consider. While in Toronto to give guidance for the refurbishment of these earlier works, Tim Scott went daily to his temporary Toronto studio and expanded on clay sculpture that had its beginnings in the 1990s in Nuremberg. He continued working with clay in Yorkshire where in 2008 he began the series House of Clay.
- David Mirvish
Tim Scott - Sestina (1967)
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