Facial stubble holographically swivels into forest swamp. Impasto strokes swerve into smudges of cosmetic mung. A maxed out jam of Funky Chinese takeaway, Disco gore, mumsy notes of dangling necklace beads, incense sticks and basted ceramic.Frippery yearning of ambience and serenity are curried with a spacey baroque guzzle. There is a lewd salivary tone in the shivering studded transparencies, the blurting suggested flesh under tights, milky liquids, silky thin plastics. Tenderness and feverishness judder and sizzle against each other.
The word Harvest chunks abundance and over-ripe matter with a peasanty sickness. Harvest is a time of wicker and worship, fire and potion, of pomegranate, marigold, and scythed thistle; when apples are cured into cider and fruit gets boiled into sticky jelly. It also a season for a boozy western skyline, glitzy casinos, gloss nails and flashy testoster- one feasts. Belted with these rites of cyclic excess busts up the post binge comedown, the scars of greed, the inevitable yawing seasons coughing up putrefying silage, bald fields and soiled tools.The season is also a tinted Instagram filter; it’s a hue, it’s a feeling, a palette, a season peered over by a low sallow sun.
Swarms of bathed surfaces emerge under this medieval-Miami sunset….
It’s gastric. In these moist ‘landscape paintings’ unruly fraudulent liquids subside, dribble, clot and spasm their way through the lubricious sketches. A living, decaying, ferment- ing collision of the ancestral sap of Claire’s Accessories and 99p Chinatown Copacabana runes. Shifting and glittering in basins which are hammered, scorched, stamped, ripped with a noxious sorcery. It feels sickly contagious, strung together in planetary formation, scents miasmic meshing, the aquafresh stench gargling up from the entrance impasto van-goghy mural, perfumes rummaging with each other.
Smutty, turbulent and irresolvable the works trickle and grind over numb subjects, making slothful innuendos from faces, food, clothes, landscapes, complexions. In this sloppy tidalness there is so much superimposition; images are promiscuously mating other images, surfaces clambering in and out of one another in scribbling composition.
Samara Scott b. 1984, UK. Lives and works in London. Recent and upcoming solo exhibitions include; Eastside Projects, Birmingham, 2015; Lonely Planet, Almanac Projects, Turin, 2014; High Street, Zabludowicz Collection, London 2014; Baggy, MARS! Munich, 2014; Basic Instinct, online commission for Legion TV, 2013. Recent group exhibitions include Surface Protection Plus, Loyal Gallery, Stockholm, 2014; Kumu Art Museum, Tallinn, Estonia, 2014; Arroz sem sal, Silvia Cintra, Rio de Janeiro, 2014; As real as walking down the street and going to the grocery store, Rowing Projects, London, 2013; Verging on the Absurd, Contemporary Art Society, London, 2013; Cascading Style Sheets, Peckham Palazzo, Venice Biennale, 2013; Duty Free, ArkassÎirket Foundation, Istanbul, 2012; The Response, The Sunday Painter, London, 2012; Samara Scott & Marianne Spurr, Seventeen Gallery, London, 2012; Young London, V22, London, 2012.
