Deborah Scott is the originator of Structural Omission, a framework in contemporary realist painting that reframes absence as a structural condition of representation. Her paintings hold the known and the unknowable together, embedding incompleteness as architecture rather than style. Exhibited in museums including the Fort Wayne Museum of Art and the European Museum of Modern Art in Barcelona, her work has also been featured in Fine Art Connoisseur, American Art Collector, and Poets & Artists. She has attended residencies at the Vermont Studio Center, Byrdcliffe Arts Colony, and the Museum of Loss and Renewal.
Do you have a network of other artists, and how do they support you?
Engaging in visual art is inherently a solitary pursuit, and the presence of a network of fellow artists is vital for my overall well-being. I am fortunate to be part of various artist "tribes" that offer diverse connections, including artists, curators, enablers, and muses. My primary support systems currently revolve around the art students I work with, past studio mates, fellow artists from group exhibitions, artists discovered through social media, and those I’ve built friendships with through artist residencies.
These networks offer inspiration, creative energy, and valuable insights into the motivations and methodologies of fellow artists. The reciprocal nature of these relationships allows us to expand our connections within the art community. Most importantly, there is a profound sense of fulfillment derived from being present for others as a friend, meeting them in their moment. By extending support to fellow artists, I am simultaneously nurturing my artistic journey.
What are your ultimate career goals?
To have the freedom to be fully committed to making art and to have time for the people I care about.
Describe your ideal working environment.
My week revolves around 3-5 days spent immersed in the studio. When I'm in work mode, I deliberately eliminate distractions – no texting, no calls, no
social media, etc. My studio mirrors this intentional minimalism; the sole focus is the canvas on my easel. My workflow involves intense 20-minute work blocks followed by brief breaks. Stepping out of the studio, attending to messages, and scheduling time with family and friends rejuvenates me. I've identified my optimal focus span at 15-20 minutes; surpassing that threshold leads to fussiness and overworking. This approach aligns seamlessly with my personality. It's a delicate dance between complete immersion and stepping back for a broader perspective, perfectly attuned to my style
What is the best advice you have received in your career?
Work hard. Trust yourself. You are not for everyone, and your work will not be for everyone. But it will speak meaningfully to some.
Tell me about a time you received negative comments or harsh criticism. How did you handle it?
I jumped right into the deep end by attending a full-time atelier program with essentially no art background. The initial feedback on my first project was brutally honest, with the instructor expressing that my presence in the program was precarious. Rather than succumbing to the sting of criticism, I viewed it as a stark but accurate assessment that fueled my determination.
In response, I opted for an unconventional approach. During breaks when fellow students were away, I dedicated myself to daily sessions at the school, working with unwavering intensity and initiating a new drawing every 20 minutes. The negative comment served as a catalyst, motivating
me to challenge my limits and measure my progress within a condensed timeframe. By the time my peers returned, I felt I had not only caught up but had also gained the confidence to move forward with renewed assurance in my artistic journey.
Deborah Scott Unsettled, 2024 | Oil and mixed media | 24 x 18 inch
Describe an artwork you are most proud of. Why?
There is no singular work of art that earns my pride. Rather, my pride and heart belong to whatever canvas is currently on my easel. It is within this space of possibility that my pride soars. The act of painting feels to me like an active dialog. The canvas, my collaborator, conveys its needs with each consecutive brush stroke. I am an impatient person, but oddly, I have a lovely, patient approach to art making, a trust that the painting will reveal itself in due time. This process, seemingly mystical, transforms the act of creation into an act of discovery. The completion of this artistic journey is not just a finished painting but also a memory of my exploration of the realm of creativity. The culmination of this artistic dialogue is not just a personal triumph but a story to be shared, a revelation that transcends the boundaries of my studio to engage others.
