Scott goes back to the future in his work, or maybe forward to the past, plotting out his images on a computer and then hand painting them...
- Cate McQuaid, THE BOSTON GLOBE
 
...Scott is less interested in painting than in the laws and the feel of painting, and alternates between clever invention and domestic imagry. What seems like insperation garnered from rave culture has more to do with art history than drug culture. Hyperly defined, his logos proclaim a mysterious unknown...
- Mathew Murphy, IN NEWSWEEKLY

Scott's clear-cut arrangement of symbols, color and texture celebrates the "Rebirth of Cool" and the optimistic artificiality of a period fascinated by the prospect of space travel and convinced by the progress of technology...

Exerpt from: FRIEZE ©1999 The Institute of Contemporary Art, Boston
by Christoph Grunenberg, Former Curator ICA, Boston, USA
Current Curator Tate Museum, Liverpool, England

Alexander Scott lives and works in a one-bedroom apartment on a quiet block near Boston's Newbury Street, a social hub where girls sporting Jennifer Aniston haircuts, stodgy Bostonians and ubiquitous college kids merge in a dizzying collage of swank, pomp and chatter. With its gaslight street lamps and reassuring New England charm, it seems a curious stomping ground for a man whose paintings are influenced by everything from the lurid plastic forms of fast-food chains to airport architecture. "It's my more modern work, the stuff I care about at the moment, that seems to take its cues from what's swirling around in our popular culture," explains Scott from the comfort of an Aalto bentwood chair.

Scott's work first caught our eye on the walls of Troy in SoHo. Influenced by forces as disparate as the Japanification of America, Graceland and the rise of rave culture, his pieces are a window with views of both the familiar and the future. Having studied art history at Boston University, Scott moved on to France to paint pretty landscapes, briefly took up modeling in Milan and, back in the States, spent time working for a Buddhist publishing company. These various experiences seem fully ingrained in his work, where his palette of muted colours, bold shapes and woodgrain reveal a taste for contrast that seems to suggest the work of both graphic designer and painter. "For me, art and design are definitely coming together - boundaries between various media have been blurred. The bottom line is: I've set out to create an effect and this is what I came up with. I'm not thinking: am I doing high art, design, or furniture. I just did what I wanted to do."

Influenced in equal measure by the work of Jean Arp and David Lynch, his pieces hark back in particular to synthetic wonder of postwar "Good Life" modernism in the US, as well as De Stijl's earlier experiments with abstraction and plasticity. It's an unexpected reciprocity of artificiality and symbol. "My idea was to create an ambient kind of art, one that wouldn't overwhelm the sense of the environment but had a specific effect. " The figures, he explains, serve as entry to the work, a beckoning to "the busy mind". Currently fascinated by a computer program that simulates analog techno tracks, the contradictions that are Alexander Scott ultimately work themselves out. "It's to create some sense of peace," he allows, finally, "That's always been why I've done it."

- writer Kok Kian Goh from Wallpaper* (1998 Time Inc.) Jan/feb issue

2003/2004 DEC/JAN EDITION OF ELLE DECOR U.S. Edition

Work titled "In The Forest I Can See You, Almost" latex and faux bois on hardboar panel, 24"x36" 1998 by Alexander Scott

A Manhattan apartment by New York based designer, James Andrew, pays homage to historical greats, such as Albert Hadley, David Hicks, Billy Baldwin, and Jean-Michel Frank.

- See article by Stephen Henderson in ELLE DECOR Jan. 2004

Wallpaper magazine:

from a feature called Manhattan strait up

"...with New York at your disposal, our editors chart a ten-step, sweat-free course for all your dining, drinking, shopping and lounging need."

Scott's painting and design work has been shown and featured in magazines and newspapers throughout the world including Japan, France, Swedan, Canada, and the USA. including Wallpaper magazine, Elle Decor Japan, Crea Japan, New American Paintings, House and Home Canada, Art Forum, The Boston Globe, Plazm, Aftonbladet Sweden