Scott Spencer

Cada dia eu agradeço minhas estrelas afortunadas e os poders que sejam que há coletores da arte neste mundo. "obrigado," a todos que possui e todos os proprietários futuros destas pinturas. Você é pessoa maravilhoso, permitindo que eu continue pintando e dando me a satisfação grande. Se você estiver sempre em Los Angeles, olhe-me por favor acima. Eu comprá-lo-ei algum lunch. Eu gostaria de conhecer o. Eu dou-me sobre àquele que governa. Eu sei que alguém ou algo está prestando atenção após mim, mantendo o vigil. Cada lona tem uma agenda -- uma vida do seu próprio separado de seu fabricante, a separa do pensamento ou a lógica ou a razão -- e traçar seu curso é interferir somente. Planear é destruir. Deixais lhe para pintar. Confíe no mess. Todas as marcas são boas. Oh, mas o mutiny do scrutiny. . . se nós poderíamos somente o deixar sozinho. O artista self-taught tem uma possibilidade grande ser original. Sem conhecimento das "réguas" para hinder o estilo da mão ou de um instrutor para imitate inteiramente, que resultados são puros, seus próprios. O contrário à opinião popular, arte abstrata é "significativo" em uma paralela com arte do representational. Cada um de nós vê diferentemente, e respostas individuais a um trabalho de arte abstrato é variado. O "meaning" de um trabalho abstrato é oftentimes mais forte e mais pessoal para o visor do que é puramente na arte do representational onde a matéria sujeita é óbvia e pode somente evoke uma escala limitada dos sentimentos ou das emoções. Albert Einstein dito, a "imaginação é mais importante do que o conhecimento." As palavras bem-vindas a um daydreamer gostam de me. "não há nenhuma beleza excelente esse hath não algum strangeness na proporção." Francis Bacon Ser gay é um presente, uma variação em um tema. O amor é demasiado poderoso ser dado forma ou confinado. No momento em que, eu estou amando as pinturas do marrom de Cecily, do Raimonds Staprans e do Paul Balmer. Meus favoritos absolutos são Beckmann máximo, Milton Avery, Henri de Toulouse-Lautrec-Lautrec, Richard Diebenkorn e Lucien Freud.

Magazine Cover
2010 American Journal of Critical Care (painting shown, Pointillism) July, volume 19, number 4

American Journal of Critical Care (painting shown, Lower Extremities) May, volume 19, number 3

Spencer with his painting "Her Bosom." March, 2008. "Body of Art" exhibition at JFerrari Gallery in Los Angeles, California. Thank you Jazmin and Dan.

A still from the short film "Mechanic" by Asher Glaser (AsherGlaser(dot)com) featuring some of Spencer's paintings. Thank you, Asher.

Thank you David and Nadine Alon.

Exhibition Blurb:
Scott Spencer is a self taught artist. His artworks are most often executed without prior preparation, thus becoming free expressions of his mood and emotions at the moment when they are created. As experiences influence our thoughts and perspectives on the world, so more intense and dramatic experiences tend to leave even deeper marks on our outlook for the future. A brush with cancer a few years ago forced Scott to rethink his values. Since then he has taken life as it comes--sans soucis--and this insouciance is reflected in his canvases where color and form flow, neither structured by 'rules' acquired through formal training nor intimidated by the need to impress. Imagination at the moment of creativity guides the hand and the senses feel the paint. Every brushstroke is 'good' and therefore there are no mistakes or better ways to improve the work. There is no need to rework a canvas or rethink a composition--it is as it is, and each work thus becomes a record of a unique sensory moment of time.

Scott Andrew Spencer lives and works in Pasadena. He can often be seen standing at his easel on the balcony of his condominium in the evening hours and into the small hours of the morning. Beneath the starry night the imagination has no limits, the senses are magnified and only art can somehow give a release to such energies at times like these. Albert Einstein once said that "imagination is more important that knowledge." For artist Scott Spencer these are defining words that only a real daydreamer can appreciate. Scott is a prolific painter and has painted an eclectic body of work since devoting himself to his art. He has had works exhibited in numerous exhibitions in California and is a current member of the Pasadena Society of Artists. His works have won awards and been sold in the USA and in Europe.

Education
C.S.U.L.B. (Long Beach, CA)
Associate in Arts Degree, Orange Coast College (Costa Mesa, CA)

Affiliations
Pasadena Society of Artists (PSA)

Selected Exhibitions
2008 JFerrari Gallery—“Body of Art” (Atwater Village, CA)
2007 Bonaventure Hotel—“Sense of Community” (Los Angeles, CA)
Terra Gallery—“Open Up” (Columbus, OH)
Essence of Living (Hermosa Beach, CA)
The Loft—“Paint 9 Décor” (Eagle Rock, CA)
2006 Viva Gallery—“81st Annual Exhibition” (Sherman Oaks, CA)
BrenArt—Solo (Pasadena, CA)
i-5 Gallery—“Art World Poker” (Los Angeles, CA)
Gregg Gallery and Frames—“AEG Artists” (Bexley, OH)
Whites Gallery—“Springtime” (Montrose, CA)
BIA Parade of Homes—“New Haven Homes” (Westerville, OH)
Fina—“6 Up” (Los Angeles, CA)
Carlotta’s Passion Gallery—“Get Yer Ya-Ya’s Out” (Eagle Rock, CA)
2005 The Velvet Room—“Third Anniversary” (Pasadena, CA)
A Shenere Velt Gallery—“Artifacts of Activism/Images of Peace” (Los Angeles, CA)
Celebrity Centre International—“Rose Variety Arts Show” (Hollywood, CA)
Pazzaz—“Paint and Shoot”, exhibit with Matt Harbicht (Silver Lake, CA)
Space-LA—“3rd Annual Ken Dunipace Memorial Art Show” (Los Angeles, CA)
Surrounding Art—Gallery Artists (Pasadena, CA)
Creative Arts Gallery—“PSA 80th Anniversary Exhibition” (Burbank, CA)
Galleria Jan—“Gallery Artists” (La Jolla, CA)
2004 Fine Artists Factory—“PSA 79th Annual Juried Exhibition” (Pasadena, CA)
Altadena LCC—“PSA New Members Exhibition” (Altadena, CA)
Period Gallery—“Color II” (Lincoln, NE)
Friends Gallery—“Make Art, Not War” (Pasadena, CA)
Los Angeles Municipal Art Gallery—“Open Call” (Los Angeles, CA)
Period Gallery—“Faces III” (Lincoln, NE)
Period Gallery—“Abstraction VII” (Lincoln, NE)
Pacer Communities—“Quattro Blu” (Pasadena, CA)
Period Gallery—“Landscape IV” (Lincoln, NE)
Period Gallery—“Contemporary VI” (Lincoln, NE)
2003 Period Gallery—“Abstract VI” (Lincoln, NE)
Abstract Earth Gallery—“Abstracted” (Columbus, OH)
2002 123 Soho Gallery—“Featured Artist” (New York, NY)
2001 TheArtProject.net—Artists Respond To Terrorism
2000 Solid Expressions Gallery—“Gallery Artists” (Los Altos Hills, CA)

Publications
2008 Art Wanted Calendars: Science Fiction/Fantasy, Animals/Wildlife, Landscape/Outdoor
2007 Art Wanted Calendar: Outdoor/Landscape
“Mechanic”, short film directed by Asher Glaser
2006 Art in King-Sized Beds: A Collector’s Journal, AuthorHouse
2005 Interview Series, Spencer Unleashed, , April
Artists on their Work, Art in the Vault, February 5
2004 Guest Artist, Quattro Blu, Pacer Communities, May 25
2003 Artist Spotlight, Pasadena Weekly, ‘Art Speak,’ June 12

Collections
Hannibal Aguilar, Pasadena, CA
David and Nadine Alon, Belgium
Dr. William Armstrong
Vern Asche, Devore, CA
David Brashear, Virginia
Michael L. Grace, Palm Springs, CA
Joe Hudgens, Alhambra, CA
Mark Humphry, Altadena, CA
Glade Johnson Design, Bellevue, WA
Brad Kuhlin, Pasadena, CA
Westley Lagerberg, Yorba Linda, CA
Lurssen Yachts, Bremen-Vegesack, Germany
Junell Mackey, Pasadena, CA
John Matty, Olivenhain, CA
Jason Maynard, Malibu, CA
Therese Molloy, New York, NY
Tami Pflug, Los Angeles, CA
Amy Pounder, Bernardsville, NJ
Mary Shields, Denver, CO
Karin Wagner, Olympia, WA
Emily Yerkovich-Phillips, Austin, TX

Awards
2006 Best of 123Soho 2006 Art Show, New York
2005 Best of 123Soho 2005 Art Show, Cloud Cover
2004 Honorable Mention, PSA 79th Annual Juried Exhibition, Flowers to Heaven
Special Recognition, ‘Landscape IV,’ Period Gallery, Poolside
Director’s Recognition, ‘Contemporary VI,’ Period Gallery, Three
2003 Special Recognition, ‘Abstraction VI,’ Period Gallery, A Place by the Water

Detroit Institute of Art. Me and Rodin's "Thinker."

Carregado em 1970.
Vivendo em Los Angeles, Scott Andrew Spencer pinta o diário no balcão fora de seu estúdio onde ama escutar a música e delve no abstraction. Faz exame da inspiração de seus arredors imediatos, real ou imaginado, e pinturas nas horas pequeninas da noite. "que é quando a energia vem." Scott é primeiramente self ensinado e começou a pintar a tempo integral após uma escova com o cancer em 1999. É representado pelo negociante renowned Biljana Grcic-Beran do gallerist e de arte com Galeria janeiro no la Jolla, Califórnia, e foi admitido na sociedade de Pasadena dos artistas em 2004.

Photo by Matt Harbicht
a/v: Give us a little background: Where were you born? Where have you lived?

Scott Spencer: I was born in Santa Monica, California, and haven't strayed too far since. I grew up in Huntington Beach, bounced around Orange County for awhile, and have been living in Los Angeles since 1996. I love it here and probably won't ever leave. I would like another place to paint, though. If I can get myself another studio someday, I'll probably buy a property someplace rural, away from the hustle and bustle of the big city.

a/v: You had a very serious brush with cancer. Explain how this experience affected you as an artist.

ss: Yes, I had cancer in my mouth and surgery to remove a good portion of my tongue, a salivary gland and all of the lymph nodes on my left side. I'm fortunate to have regained my speech. I had trouble with Ss and Ts for a while . . . still do when I get a few beers in me. My cancer actually started my career as an artist. It helped me realize that our time here on Earth is ephemeral and not to be taken for granted. Up until then, I wasted a great deal of time and didn't have much direction. It was a gift. I really didn't have a say in the matter. It just happened. Something deep inside me had something to say and decided to express itself. I started painting right after recovering and fell in love with it. It's my one true thing. And my paintings will outlive me . . . that's kind of cool.

a/v: You are a prolific painter and you work quickly. I guess you're not troubled by the “painters' block” that frustrates many artists.

ss: Now I am. I had no idea such a thing existed until you just mentioned it. I'm afraid to even look at the canvas now . . . I'm kidding, of course. One of my first artist statements (I'm diametrically opposed to these things, by the way) went something like this: "The self-taught artist has the greatest chance to be unique. Without knowledge of 'rules' to hinder the hand or an instructor's style to imitate, what results is pure--entirely his own." What you don't know can't hurt you.

I paint fast and often and easily "lose" myself in the moment. I have no apprehension or knowledge of "painters' block" because I primarily paint abstraction and seldom start a piece with intent pictorially. I trust in the knowledge that the time spent out on the balcony with my brushes will be worthwhile. Even the ugliest painting can become beautiful when given a second chance. Let it dry, scrape it off, some of it, all of it, whatever, anything goes. Painting is the freest form of expression I've found to date.

a/v: What puts you in the mood to paint?

ss: Anything can make me want to paint: an interesting object, a sound, a feeling, a pretty girl, a pretty boy. Basically, I always want to paint and will pretty much make up any excuse imaginable to make time for it. It's normal for me--what I do more than anything else--so actually it's the other way around; I need something interesting to come along and put me in the mood to get away from it. Otherwise I'll just keep painting.

a/v: Certainly you must rate the success and quality of each painting when you have finished it-- How do you know when you have created an extraordinary painting.

ss: That's a tough one. My favorites, I've found, aren't necessarily the ones that other people like. Each painting is independent and must have something going for it in order for me to sign it. I think my most extraordinary paintings are still to come.

a/v: I guess I was a little shocked when I discovered that you almost went pro as a golfer. I just don't equate the game of the privileged class with the outside-of the-boundaries labor of the artist. Is there a connection for you between these two seemingly disparate activities?

ss: I did play as a professional for one year. I wanted to play golf for a living or not at all, though. I could shoot par or better on occasion, but I couldn't keep up with the guys that were shooting 64s and 65s. So I quit. I haven't golfed in over ten years. Art is my golf now. Maybe I'll try for the senior tour somewhere down the road if I get the itch again.

In golf, I was always looking for a "key", one thing I could do that would always work. I was technical, analytical and always tinkering with my swing. I know now that there are no "keys" in golf, or in life for that matter.

a/v: What should I do to improve my short game?

ss: The short game is just like using the driver or hitting the midirons, just closer to the hole.

a/v: Why are you a painter? Why not a sculptor or a photographer or a performance artist?

ss: I intend to sculpt later on in life. For the time being, I have space issues and can't imagine having as many sculptures lying around the house as I do paintings. Sculptures are hard to stack.

a/v: What is your favorite gallery or museum in Los Angeles?

ss: I like Chac-Mool on Melrose. It's kind of stuffy, but they show great art. Manny Silverman and Don O'Melveny Gallery are nice, too.

a/v: If you could sit down and have a drink with any artist, past or present, whom would you choose? What would you order to drink?

ss: Margaritas with Henri Matisse. Beer with Constantin Brancusi or Max Beckmann. Hot totties with David Hockney or Giovanni Battista Tiepolo. Actually, I'd probably enjoy and benefit most from a drinking binge with Francis Bacon. That guy was so wacked, he'd be certain to make me feel "normal". Rumor has it he despised his father but desired him sexually. Talk about sick and twisted.

a/v: There are those who claim that painting is dead and that such mediums as video, power-point, and installation are what matters these days. As a painter, what do you say to these critics?

ss: Hogwash. We can't all be lazy bastards. Just because there's a simpler way to do something doesn't mean that it's correct or more viable.