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Essays
2005
Andries Loots
Sue Lipschitz
Claire Breukel
Mark Gillman
Glynis Coetzee
Marco Garbero
Charl Bezhuidenhout
Joshua Rossouw
Vincent van Zon
Earle Parker
Sue Lipschitz Sculpture
2007
Gus Silber
Charl Bezhuidenhout
Craig Mark
Georgia Schoeman
Sue Lipschitz
2008
Gavin Rain
Riaan Vosloo
2009
Angelo Pauletti
2013
Gus Silber
Andy Reid
Brigitte Williers
Vincent van Zon
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Sue Lipschitz
We must go on searching
Richard Scott, like Matisse before him, understands the
importance of making colour itself serve as expression. It
is the coloured surface that is important in all his work,
in particular the brilliant Muizenberg Yacht Race. The
painting is not ‘about’ the yacht race, but about the
strong juxtaposition of tall bands of yellow, purple,
orange, cerise and red verticals, combined together
near a horizontal expanse of blue. The effect of this is
controlled by pattern making, in which sharp black lines
not only delineate shapes but serve – as in stained glass
– to intensify the patches of colour they surround. There
is economy even amid his most apparent luxury and the
economy of effect in his paintings, at the same time, is
sensuous and colourful. Richard’s work has probably been
underestimated because of its apparent light-heartedness
and charm. There is however nothing superficial in
Richard’s continual search for ways towards great art.
It is not a paradox, but part of Richard’s control of his
effects, however brilliant in colour, that he should also
have been brilliant at graphic design. Like Klee, Richard
is able to create something that seems slight but which
remains tenaciously vivid. He has the ability to control
his design. The sheer inventiveness of the images and
colour produces pictures that neither reproduce nor
totally reject the outside world we see. It is the
imagination that colours Richard’s images, products of an
inner eye that sees much deeper than the ordinary one.
Richard’s work puts back into art a topicality in which
the public enjoys recognising commonplace images and
things. It proclaims its freedom to be anything it likes. It
keeps trying to be exciting and topical, thinking up new
ways to astonish and amuse. Today we are much better
placed to respond to art of our own period as well as to
survey that of the past. Artists have encouraged the
autonomy of the spectator to the point where we may
each be our own artist. There is really no secret about
appreciating art, except to have a belief that art –
whatever it is – is essential to our lives and wellbeing.
Taken from Richards Book 2005 |
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