I am drawn to the aged, the battered, the discarded and the forgotten. Incorporating found objects, consumer detritus, bits of this and that, the effluvia of our shared, forgotten and infinitely manufactured landscape, my sculptural assemblage pieces contain objects and materials that are easily recognizable; familiar items heavily used, cherished mementos of lives long gone. Each piece contains both the familiar and the new, yet resonate with a history both real and mythical, reminding us of our fleeting and tentative place within the world we share.
My intent is to draw out the memories of these found objects, imbuing them with a new life, re-imagining their purpose and meaning, while paying tribute their history. I play with those memories, juxtaposing them against one another in an attempt to subvert the ostensible object, while harnessing its respective power in a new relationship. The goal in combining contradictory vocabularies is to achieve a meaning beyond, or between the boundaries of its individual language: the authority and power inherent in the object, inscribed with societal ideals, sentimentality and values of the vernacular item or photograph, juxtaposed against a back-drop of coordinating and complimentary ideas.
Salvaged material is an ideal medium in which to work. A "found object" is just an ordinary thing until it's presented in a new way. By collecting and re-purposing these objects I re-invent them, I prolong their lives, re-imagining an object or a photograph - in relation to its original use and perceived intention.
My new work breaks somewhat from the medium in which I have been working the past few years. Working with found objects and photographs are truly the passion of my creative heart, but I have been creating new panels, which are devoid of objects entirely. Nevertheless, the new panels continue to reference the same ideals of dreamy, fuzzy, forgotten history.
When working I always try to make things that create a new story from disparate objects and images, to fill the gap in the understanding that the imagination uses as its canvas - to see more than remembered. -- Scott Wright
Scott Wright was born in the final year of the decade best known for its free love, hippie lifestyle, or as his (surprisingly ordinary) parents called it, the Sexties. Named after the protagonist in the popular Bobby Goldsboro song, "Watchin' Scottie Grow" Wright grew up in an environment which encouraged imagination, yet was grounded by a strong-willed, crafty grandmother who instilled an appreciation and acknowledgment of history and family lineage. These early influences imprinted upon Wright a dichotomy of perspectives, which can be seen reflected in his sculptural assemblage panels.
After completing his formal art instruction at the University of North Texas, he became free of the constraints of a contemporary art education, and threw himself into creating his imaginary storytelling panels. Utilizing rescued photographs & salvaged, found objects, his work captures remembrance and promise, balancing a forgotten moment of life against what fate ultimately had in store. His work is full of fact and fiction, life and loss, and all that is unique and ordinary about our lives, yet preserves the immortality of us all.
"My work is about remembering. And although I take liberties in remembering a truth that may not have existed, I do so in an effort to immortalize and pay tribute to people I will never know, people who may well have been forgotten by everyone they ever knew. In so doing, I represent the eternal in each of us and the belief that the documentation of loss is the talisman that bears witness to our existence, shouting to the world - I was here, look what I did!"