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    Claire Breukel

    Seduced by Richard Scott

    Let’s face it, there is nothing particularly revolutionary about Richard Scott’s artwork. His style is formulaic and the product highly commercial – some would even go as far as to say mass-produced. This is what makes him so accessible. Scott’s paintings, sculptures and installation works are palatable, affordable and easy to sell – a gallerist’s dream.

    (I say ‘him’ as Richard has made himself a brand synonymous with his work. The amount of times I’ve heard trendy Capetonians refer to Richard Scott as object, saying things like ‘My Richard Scott is an earlier one’ or ‘Have you seen the Scott that Mary has…?’).

    Adding to commercial appeal – in a country where we grapple with notions of what constitutes high or low art (whether currently relevant or not, the hierarchies still exist) – Richard would have to be considered middle art. The voice of reason pulling pretentious ideals off their proverbial pedestals and inspiring the ‘lesser’ considered to come to the artistic fore. His artistic savvy provides the perfect middle ground for acceptance in the psyche of every trendy and even not-so-trendy South African. Further adding to this sexy appeal, Style magazine dubbed Richard’s work as one of the best art investments of the year. Who could resist!

    So against my will I have to confess I too have been seduced by Richard Scott. There is something about the vibrancy and cheeky dynamism that appeals to some sensory receptor inherent in all of us. Even the most ardent, tight-lipped art critic has to salute Scott’s witty and calculated rouse to lure the viewer into sensory delight. His paintings are deliciously tactile, his sculptures playful, his installation witty and accessible.

    Needless to say, I have never met anyone who hasn’t liked his work. It seems Richard has seduced us all.

    Taken from Richards Book 2005

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