Let us imagine an unusual situation.  An artist who worked, producing soft, three-dimensional, colored objects that are original in form and expressively powerful. The abstract fiber structures she created were large, often larger than she was, each involving months of dedicated work. She applied herself to her creative enterprise with extraordinary intensity, patience and care. Yet, paradoxically, this woman possessed no concept of art, no understanding of its meaning and function. She did not know that she was an artist nor did she understand that others perceived the objects she created as works of art. Whatever she was doing she was definitely not concerned with the making of art. What, then, was she doing? This is the fundamental question that we seek to answer.

Judith Scott, a woman who was born with Down's syndrome, spent the last ten years of her life producing a series of totally non-functional objects, which, to us, appear to be works of sculpture, except that the notion of sculpture was far beyond her understanding. As well as being mentally handicapped, Judith could not hear or speak, and she had little concept of language.  There is no way of asking her what she was doing, yet her compulsive involvement with the shaping of forms in space seems to imply that at some level she knew.  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 involved 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 adhered 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 never waned throughout the years. Each piece was a time-intensive production utilizing an enormous amount of materials, concentration and patience. Judith's intensity yielded these mysterious and beautiful works that metamorphosize cast-away objects into sculptures with a distinct presence. Because Judith could not speak or hear, her internal dialogue was much like her artwork- hidden and most likely multi-dimensionally. Her exterior was colorful, interesting, but strong.

See excerpts from the book Metamorphosis: The Fiber Art of Judith Scott by John M. MacGregor