Scott Spencer

매일 나는 나의 행운의 신을 및 이 세계안에 예술 수집가 있는다 고 있는 힘을 감사한다. "과 이 회화의 모든 미래 소유자 소유하는 모두에게 너를," 감사하십시요. 너는 경이롭 사람 이어, 나에게 중대한 만족을 그리고 준 계속하는 나를 허용한. 너가 로스 앤젤레스안에 이제까지 이으면, 나를 위로 보십시요. 나는 너를 약간 점심이라고 살 것이다. 나는 너를 알n것을 얻고 싶으면. 나는 경세하는 저것에게 넘어서 준다. 나는 있있, 누구 또는 무언가 나다음에 보고 있다 것 을 철야이라고 유지한. 각 화포에는 생각에서 분리되어 예정표 -- 그것의 제작자에서 분리되어 그것의 자신의 생활, 또는 논리 또는 이유 --이 있는다 그것의 과정을 음모를 꾸밈것은 단 방해하는 이고. 계획함것은 파괴하는 이다. 그것이라고 시키다 그린 위하여. 혼잡을 신뢰하십시요. 모든 표는 좋다. 면밀한 조사의 오하이오, 그러나 하극상. . . 우리가 단 그것을 내버려둘 수 있으면. 독학하는 예술가는 유일한 중대한 기회가 있는다. , 전체로 모방하기 위하여 무슨 결과가 청정한 손 또는 강사 작풍을 방해하는 "규칙"의 지견없이 그 자신. 대중적인 신념에 반대는, 추상 예술 구상적인 예술에 평행선에 "의미심장하다". 우리들의 각자는 다르게, 예술 작품 추상적인에 개인적인 응답 변화된다 보고. 곳에 주제가 명백하 단 감각 정서의 한정되는 범위를 되살릴 수 있는 청정하게 구상적인 예술안에 이다보다는 추상적인 일 "의미"은 구경꾼을 위해 자주 더 강하다 개인 이다. 말하는Alberteinstein, "상상 지견보다는 더 중요하다."은 공상가에게 환영받은 낱말은 나를 좋아한다. "우수한 아름다움 저hath비율안에 아니다 약간 기묘." 프란시스 베이컨 명랑함 선물, 주제에 변이 이다. 사랑은 너무 강력하다 형성하나 수감되기 에는. , 나가Cecily브라운,RaimondsStaprans및 폴Balmer의 회화를 사랑할 마침 그때. 나의 공전 마음에 드는 것은 최대Beckmann, 밀튼Avery,Henrid어 툴루스lautrec, 리처드Diebenkorn및LucienFreud이다.

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."

1970년에 품는. 로스 앤젤레스안에 살아서,ScottAndrewSpencer은 곳에 그가 음악을 듣, 추상으로 탐구한것을 사랑하는 그의 스튜디오이상으로 발코니에 일간신문을 그린다. 그는 밤의 새벽 시간으로 그의 즉시 주위에서 감흥을, 진짜 상상해, 그리고 페인트 가지고 간다. "에너지가." 오는 때 이는 Scott은 가르치는 1 차로 각자 이고1999년에 암으로 솔다음에 전임으로서 그린 시작했다. 그는 라호야, 캘리포니아안에Galeria일월로 유명한gallerist및 미술상BiljanaGrcic-Beran에의해 대표되고,2004년에 예술가의 패사디나 사회로 입학을 허가했다.

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.