Gregory Scott executes in painting, photography and film precise representations of what we perceive to be reality…until the subject moves, the frame zooms startlingly from the viewer, and “reality” as we understand it is exposed as a series of unfounded assumptions. “What if? is a good question, I think,” says Scott. “What if the room I’m in is an illusion but the picture hanging on the wall is real?” In the creation of such pieces as In the Next Room, Scott concludes that "By placing a video into a photograph of a frame in a gallery setting, I try to examine the conventions of art and its relevance and value in today’s world."
Scott, whose unique philosophical persona underpins all of his work, mines “What if?” for poetic revelation and humor in works that blend painting, photography, and video with a wily talent for conceptual distortion. Attemptuous seems at first simply a classical nude painting…until a modern-day suitor (played by Scott) ambles into the lush still-life chamber within the frame and attempts to woo its reclining subject. Within an enchanting six-minute loop, the viewer/voyeur discovers the lengths this character will go to in order to provoke a reaction from his painted object of desire (who, at some point, responds with an unimpressed wiggle of her toes). Similarly, Scott’s charming and perplexing Thanks for the Scribbles involves a small child with a paintbrush and a series of surprised museum-goers in a chicken-and-egg pun about how paintings are made, framed, observed, and reconstructed in the strictly conscribed art world. As viewers we soon find ourselves searching breathlessly for the “in,” the hidden thread that Scott will pull to defray our original conception of his works, and reframe the notion of what it means to encounter a painting or photograph hanging on a gallery wall.