Born in 1960 in Cumbria , studied in London at Chelsea School of Art and then Goldsmiths University. Has worked in London , Malaga and Cumbria. Has shown in London and Cumbria , Spain ,Paris , Germany , Sweden and Norway and has work in several international, national , private and public collections.
Rebecca Scott currently lives and works in London and Cumbria.
Throughout the years of work after leaving Goldsmith’s to the present day, I have worked through themes and series of subject matter creating a visual language. The underlying concept is one of female desire,and Female subjectivity: this theme runs through out all the work. On another level ,the themes also reflect my history.
From the male nudes, through to the female, on to the flowers and engines, all these subject reflect my thoughts on gender politics throughout the 80s and 90s.
The Work with the still lives reflect a period of my life more concerned with the Domestic Environment while living for a while in the Lake District, which also has had its impact on my visual vocabulary. I now live in both places.
Selected Group Exhibitions
2015 Silent Movie. Q Park Cavendish Square.London.
2015 Northern Landscapes.Gavagan Art. Settle.N.Yorks
2015, Nature Morte, curated by Michael Petry , Ha Gamble,Norway
2015 Fall of the Rebel Angels,Castello,1610, Venice.
2015 Sunday In The Park With Ed, Display Gallery , London.
ABC,Newspaper , Lo Femenino y Rebecca Scott, Madrid, June 1992
Time Out, AC, Review by Sarah Kent, October 1992
Juliet Art Magazine, review by Anna Richardson, March 1992
City Limits, Decoy, review by Mark Currah, May 1990
Observer Newspaper, Landscapes in a Video Age, review by William Fever, June 1990
Time Out, Lie of the Land, review by Sarah Kent, May 1990
AND, Construction of Male Identity, review by Kate Love & Kate Smith, February 1989
City Limits, review by Louisa Buck, February 1989
Time Out, Sarah Kent on Rebecca Scott, Sarah Kent, January 1989
City Limits, Great Scott, review by Mark Currah, January 1989
Time Out, Young Masters, review by Sarah Kent, August 1988