Let us imagine an unusual situation. An artist is at work, producing soft, three-dimensional, colored objects that are original in form and expressively powerful. The abstract fiber structures she is creating are large, often larger than she is, each involving months of dedicated work. She applies herself to her creative enterprise with extraordinary intensity, patience and care. Yet, paradoxically, this woman possesses no concept of art, no understanding of its meaning and function. She does not know that she is an artist nor does she understand that the objects she creates are perceived by others as works of art. Whatever she is doing she is definitely not concerned with the making of art. What, then, is she doing? This is the fundamental question that we seek to answer.
Judith Scott, a fifty-five year old woman with Down's syndrome, has spent the last ten years producing a series of totally non-functional objects which, to us, appear to be works of sculpture, except that the notion of sculpture is far beyond her understanding. As well as being mentally handicapped, Judith cannot hear or speak, and she has little concept of language. There is no way of asking her what she is doing, yet her compulsive involvement with the shaping of forms in space seems o imply that at some level she knows. Does serious mental retardation invariably produce the creation of true works of art? Is it plausible to imagine an artist of stature emerging in the context of massively impaired intellectual development? (excerpted from Metamorphosis by John MacGregor)
Scott's technique involves the process of wrapping random objects, sometimes alone and sometimes put together to make enormous inner bases, with string, twine, yarn, paper towels, and other materials, all of varying color, weight and texture. Though varying in size, shape and color scheme, all of Scott’s pieces adhere to her fixation upon the process of wrapping and securing her objects within a cocoon of her own design.
It was only after she was essentially rescued from the institutional environment of housing for the mentally ill, and enrolled at the Creative Growth Art Center in California, that Scott’s abilities began to take shape. Having finally been exposed to art making, her talents emerged with a fervor that has not waned throughout the years. Each piece is a time-intensive production utilizing an enormous amount of materials, concentration and patience. Judith’s intensity yields these mysterious and beautiful works that metamorphosize cast-away objects into sculptures with a distinct presence. Because Judith can neither speak nor hear, her internal dialogue is much like her artwork- hidden and most likely multi-dimensionally. Her exterior is colorful, interesting, but strong. |
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