Creative, intelligent and ambitious; Hugh Scott-Douglas’ work challenges the potential of media by creating sculpture from unexpected arrangements of analogue and digital. The present lot from the artist’s recent series, a Blank Cheque, reflects Scott-Douglas’ aim to remove objects from their traditional language and to re-contextualise in another medium. As a result of these playful concoctions of material and matter, the viewer is forced to re-evaluate their perception of space and art. Hugh Scott-Douglas highlights that meaning through his artistic process: 'distance between concept and materials is always minimized and that allows for a very protean dimension to my practise' (Katrib, Ruba 'Exposed Surfaces' Mousse no. 33 April-May 2012, pp. 138-141). While the notion of this series primarily examines the economics of everyday life and the value of currency, through the use of media his pieces result in a marriage of the juxtaposition of digital abstraction and detailed investigation.
Scott-Douglas’ renowned diversity can be established within the present lot, Torn Cheque in particular as the focus sways towards an unusually personal aspect of the current finance market. Unlike an indistinguishable bank note that is traded and re-used, mark makings on the depiction recreate the unique coding of each designated cheque. Using laser cut and gessoed linen, the artist has hand-designed the individual pieces without the aid of assistants in order to mimic the distinctive and individual nature of this subject matter. Scott Douglas comments that there is 'something interesting to me about the way in which these notes (cheques and stamps) are physically marked when spent as to negate their values, whereas most currencies are re-circulated' (Katrib, Ruba 'Exposed Surfaces' Mousse no. 33 April-May 2012, pp. 138-141).
An element of abstract expressionism seems to resonate within Hugh Scott-Douglas’ works and he has regarded the movement as a constant source of inspiration. Although the present lot appears more closely linked to conceptual abstraction, the removal of the matter from its human environment seems to create a sense of intuitiveness that compares to his known influence, Barnett Newman and his subconscious and existential creations.
