Ruby R. Scott, specializes in large acrylic paintings that seem to fluctuate between a suggestive narrative and a nuanced visual atmosphere. Scott’s compositions can retain one’s attention because of the suggestive qualities that are slowly provided to the viewer. A majority of Scott’s pictures suggest figurative elements but at the same time include nuances of modernist structures and impressionist brushwork.
Below is our interview with Ruby R. Scott
https://artsadaisygallery.com/
RubyRScott@ArtsADaisyGallery.com
Sea Glass, 2023 8” x 8” Original Encaustic Painting on Rice Paper Matted & Framed
How would you describe your artistic style and approach to abstract painting?
I teeter between the eccentric and transparent, with my approach and style encompassing those qualities. Each painting is a reflection of my swirling imagination, whether alive with color, movements, and emotion or reaching deep for peace and quietness.
What inspires and influences your work as an abstract painter?
My inspiration as an abstract painter is never quenched. I see so much beauty in the world around me, the crack in a sidewalk, a sunset, color play in a picture, patterns in nature, or dreams. I capture photos of these things to save for later paintings. I often reference my collection of memories.
Can you walk us through your creative process when starting a new abstract painting?
My abstracts usually begin with a thought or emotion wrapped around certain colors, patterns, or shapes. After preparing the canvas, and contemplation of the composition, I find it’s important just to get started. A blank canvas can be intimidating (always wanting to create your best work). So, that initial stroke can often alleviate the fear of the unknown
How do you decide on the colors and composition in your abstract paintings?
My color and composition choices are examples of what emotions I am trying to project on the canvas. Is the canvas going to be full of energy, wonder, bold, or create a sense of balance, harmony, peace, and warmth in not only myself but the collector?
What role does intuition play in your artistic decision-making process?
Nearly all of my paintings are worked intuitively from a collection of memories. I’ve done one painting from a solid reference. I, at times, will use my finger on my phone to sketch/paint an idea out, or grab a color combination, or inspiration from photos on my phone. Usually though, I start in a direction, and after a few layers of color, I’m over that, and onto wherever the brush leads me.
Are there any specific techniques or tools you use to achieve certain effects in your abstract paintings?
The tools and techniques I use vary from painting to painting. I’ve used paper towels, bubble wrap, knives, sandpaper, scraping, brushes, my fingers, spray bottles, different mediums, forks, and real flowers to create with, and also plaster, wire, staples, cloth, and wood.
How do you handle creative blocks or challenges during the painting process?
I don’t struggle with creative blocks. I have such a vivid imagination, that I would run out of canvasses and room for all the things I wish to create long before I would run out of ideas.
How do you know when a painting is complete? What factors do you consider?
It’s really difficult at times, to stop a painting when I ought to. I photograph my process and look back only to find some of the middle stages were also “finished”. I believe it’s really up to the artist to decide when it’s completed. I usually feel a sense of peace and genuine satisfaction with how it has come together when it’s done.
Can you share an example of a particularly meaningful or significant abstract painting you’ve created? What was the story behind it?
Limbless One and Two of my Realism Collection are particularly meaningful pieces to me and were to be my last paintings. I have poor vision, both near and far. These two paintings required me to stand very close and also far away, causing me to switch back and forth between glasses hundreds of times each day to keep the shading and perspective on key. I was in for a checkup with my eye doctor, discussed my vision dilemma, and also showed her the two paintings. That’s when things turned around for me. She suggested monovision (one contact for close and the other to see far away) which solved my problem. It’s really quite miraculous. I see perfectly now and feel unstoppable as far as my art career goes.
I really enjoy it when people are interested in my art. I am in a constant battle with myself not to project my vision of my art piece on the viewer. I believe that my art captures something in them that is unique to them. If I share all my feelings about my art, I’ve just projected them onto my art, and then they might not see it with the same wonder as when they first saw it.
How do you determine the titles for your abstract paintings? Is there a specific significance behind them?
The titles of my paintings are specifically chosen, each referencing a particular painting. For example, I’m in the process of creating a collection titled “Power of the Mind”, in which each painting embodies a visual perception of neurological responses to certain emotions or stimuli created in one’s mind, with titles like “Synaptic Symphony”, “Synergy”, “Distortion” “Connections, and “Maybe Tomorrow”.
How do you view the role of abstract art in today’s society? What impact do you believe it can have on viewers?
Abstract art is increasing in its value today. We live in a world where we’ve seen, tasted, traveled, and experienced things that the generations before us would never have imagined. It seems that everything is attainable. To me, abstract art is art that challenges everything we understand to be real. It’s a perception, an escape, a vibe, a connection, and much more. It reaches beyond what we know to be true and is instead filled with endless possibilities.
Are there any notable abstract painters or art movements that have greatly influenced your own work?
Just thinking of artists of today, I would say my large circle of influence would include Cookie Ashton, Jeanne Jones, Barbara Rubenstein, Oluseyi Soyege, Carol Measom, Carol Simon, Ammar Alobaidi, Joy Hilley, and Nergis Mustafa. These artists have had and continue to have an enormous impact on me, both personally and professionally, for which I’m forever grateful.
How do you handle criticism or differing interpretations of your abstract paintings?
I suppose criticism can impact me in different ways. For instance, if it’s from a peer, regarding details of a piece I’m working on, it is most often highly regarded…and depending on whether or not I feel I can incorporate it in my painting at that stage, I will give it a whirl. Collectors that come into my gallery, either connect with one painting or another. My job is not to tell them how to connect with it but instead to introduce them to my art. I cannot be offended or hurt if they don’t perceive it the way I do. That’s the beauty of all of our individuality, and that’s what makes abstract art so powerful.
What advice would you give to aspiring abstract painters who are just starting their artistic journey?
If I had advice for aspiring artists, it would be to just go for it, dream big, never stop learning, challenge yourself, don’t let your fears crush you, and don’t waste a minute. Make a plan, and then run with it. You’ve got this. But most importantly, enjoy the process. Don’t let mistakes crush you; instead, let them build you better. And connect with people who want those same things for you too.
Where do you see yourself and your work as an abstract painter in the future? What are your goals and aspirations?
No one knows what the future holds, but I see myself strengthening my abilities, growing in creativity, and passing joy through my paintings on to others. I will continue to create until I am unable. I hope to keep providing inspiration to others through my art and that all of my art pieces find new places to hang where they can continue to provide happiness long after I’m gone.