Sep 5 – Nov 12, 2022


There’s a steamy horror to Samara Scott’s latest series of curdled collages. The 40 stomachy-sized works are stained with violet hues – puce, clotted purple, tripe, appearing on the walls like projectiles of vomit. Are these traces of an apocalyptic mass poisoning, organs contaminated by acid rain? Prince one said it rains purple when there’s blood in the sky. But purple also signifies beginnings. Purple Earth Theory, put forward by astrobiologists, suggests that three billion years ago, earth was purple, not green, and smothered by a giant purple membrane. Rather guts and bowels, these collages might be swatches taken from an ancient and asphyxiated globe, traces of a forgotten primal world.

사마라 스콧(Samara Scott)의 신작 콜라주 시리즈에는 공포가 자욱하게 서려 있다. 벼룩, 대창, 응고된 혈액을 담고 있는 40여 점의 작품은 보랏빛으로 물들어 토사물의 발사체처럼 벽에 전시되어 있다. 산성비에 오염된 내장들, 종말론적 대량 독살의 흔적일까? 프린스(Prince)는 하늘에 피가 있을 때 보랏빛 비가 내린다고 했다. 허나, 보라색은 시작을 의미하기도 한다. 우주생물학자들이 주장한 보라색 지구설에 따르면 30억 년 전 지구는 거대한 보라색 막으로 둘러싸여 녹색이 아닌 보라색이었다고 한다. 내장과 창자를 암시하는 스콧의 콜라주는 어쩌면 잊혀진 원시 세계의 흔적으로 고대 질식된 지구에서 가져온 견본의 일련일 지도 모른다


Samara Scott, WaterLillies, 2022
Glass, adhesives, net curtains, sock and stocking, organic debris, petals, sands, etc, 99.5 x 99.5cm

Samara Scott, Sour Orchids, 2022,
Glass, adhesives, stockings, yogurt pots, socks, tin cans, cast latex, hairbands, etc,
59 x 63cm

Samara Scott, Bloom, 2022,
Camping mat, plastic bags, mixed media, 60 x 50cm

Artist profile

Samara Scott was born on London in 1985, lives and works in Dover. Samara  Scott’s works are neither image nor objects, neither figurative nor abstract. They are recognizable things arranged in an unfamiliar order floating in a foreign substance. To gaze into them, whichever their aspect, is to be caught by someone else’s attention to strange things bought cheaply and hastily to feed, clean, satisfy and service human bodies. Rosalind Krauss wrote retrospectively about Rauschenberg’s combines as ‘a refus-al to use the autographic mark of conventional drawing […in] his insistence that [it is] the stuff of lived experience – the things one bumps into as one moves through the world – that forms experience.’ Unlike Rauschenberg’s consumables, Scott’s assemblages reveal how otherworldly ours have become. Each one has a different hue, brighter, bolder, less natural, more lurid than the last. Attention grabbing bits and pieces plucked from supermarket isles, undressed from their packaging and interned in neon groupings pique our attention. The process of consumerism is de-layed, as the odious stuff of swift consumption is made opulent and extraordinary.