Paul Scott is an artist, author and educator known for pioneering research into the graphic development of vitreous surfaces. His characteristic artworks can be found in public spaces and collections around the globe - including the V&A London, the National Museum Stockholm, National Kunstindustrimuseet Oslo, the Museum of Art and Design in New York - and in Vietnam as part of the Hanoi Mosaic Mural.
He was awarded a PhD by Manchester Metropolitan University in 2010, and is Professor of Ceramic Art at the Oslo National Academy of the Arts (KHiO) Norway. Paul Scott is a founding member of AIR (Artists Interaction and Representation - the UK's largest representative body for artists) and member of the International Academy of Ceramics.
In-glaze prints on ceramic forms and surfaces. Objects are individually numbered and marked, sometimes indicating the date of firing. Some are of an edition, the maximum number of which will be five pieces.
Printed blue and white ceramics have a long, mostly forgotten history as a disseminator of image and message. Whilst perceptions of the genre have changed and faded over the years, it still has a place in our common memory. As an artist I exploit its conventions, and its retained familiarity. I use a combination of altered ready-mades juxtaposed with hand-built tin-glazed or porcelain forms. I buy old, usually patterned, plates on e-bay, in junk and antique shops, and these live with me - often for months or years. Some stay with me in my studio, whilst others make it into the house where they are used for serving food. When the time comes, I add to them – a mark, a line, a gold edge, or I compose - collaging with in-glaze decals. Then I re-fire them to give them a new life. Recently I have begun wood-firing some of the hand-built forms, using salt or soda to create subtle glazed surfaces, which interact with the printed graphic. As well as wood fired trees I have begun firing printed bowls, plates and cups - stretching print to consider form and studio pottery’s surface conventions.
My printed images and patterns are created by digitally manipulating established vocabularies of printed motif pattern and image - all harvested from industrial ceramic archives or engraved book illustration. Drawing, cloning and collaging these (sometimes with photographic elements) I create new patterns and narratives - contemporary artworks in ceramic and printed form. The altered ready-mades, hand-built sculptural vignettes and architectural interventions are all characterized by the blue and white semiotic. Together with a focus on pastoral landscapes and chinoiserie, my work draws on the cultural wallpaper in our minds, playing with our sense of the familiar – not replicating but re-working, creating new forms and ways of seeing.