This publication expands upon Samara Scott’s installation practice, translating her approach to materiality, with her use of dense surface language, ubiquitous object and atmospheric liquids onto the (shimmering, glossy) page. Developed in close collaboration with designers Traven T. Croves, Drunk Complexions begins with a series of works made for the exhibition Harvest(2015) at The Sunday Painter, London. It depicts a chronological portrait of these works, condensed sub astral landscapes and rock pools housed in domestic vessels; as they form, ripen, decay, crust over and disintegrate. Reproduced in neon pink and orange, the colours of a ‘medieval Miami sunset,’ the magnified single-colour images create new microscopic landscapes.
An interpretation of the exhibition and a new work in itself, Drunk Complexions takes its title from a piece included in the show, an entirely liquid construction (water, oil paints and spray paint) assembled in a metal baking tray. The floating spray paint diffused on the water surface is reflected by the diffused silver ink on the page surface. In this printed layer an additional synthetic substance intermingles with those that the images depict. A deletion fluid applied, by Scott, with a variety of materials directly onto lithographic printing plates on site at ArtQuarters Press, produces (when processed with Pantone ink 877 C) an iridescent metallic film that pools and swarms across the pages, submerging the images and, by this disruption, forcing a closer analysis.
Specialist neon and metallic pantone inks, hyper gloss paper surfaces, and a translucent pink plastic slip cover speak of excess and over-abundance. The sticky tactility of the consumerist experience and consumption present throughout Scott’s practice, highlighted by the silver ink which retains the fingerprints of its owner.
Designed by Traven T. Croves
Edited by Alice Lindsay, Andrew Lister, Matthew Stuart and Peter Willis