Daily Rituals (2022)
Daily Rituals (2022) explores the shifting nature of the artist’s workspace and the rituals that shape creative production. Developed during a period in which Scott became increasingly preoccupied with the search for a studio of his own, the series reflects upon the blurred boundary between domestic life and artistic practice. Working primarily from the kitchen table - echoing the improvisational conditions described by Hannah Höch - Scott began to question whether creativity is defined by a physical location or by a state of mind.
Encounters with the writings and practice of Gabriel Orozco proved formative. Orozco’s rejection of the studio as a fixed or privileged site of production, instead proposing the world itself as a place of work, encouraged Scott to reconsider authorship, routine, and observation as creative tools. The resulting works examine how artists construct meaning through habit, attention, and circumstance rather than through controlled environments alone.
The title of the series draws directly from Daily Rituals: How Artists Work by Mason Currey, a study documenting the working methods and personal routines of writers, artists, and thinkers. Inspired by these accounts, Scott sought to visualise the multiplicity of creative approaches, imagining the studio as something continuously assembled through action rather than architecture.
Through collage and layered composition, workspaces appear fragmented and reconfigured. Tables, tools, and domestic objects drift between order and improvisation, suggesting environments shaped as much by interruption as intention. Playfully, each work adopts a title derived from quotations within Currey’s text, accompanied by the initials of the referenced artist, subtle acknowledgements of the invisible lineage of influence that underpins creative practice.
In Daily Rituals, the studio becomes both physical and psychological terrain. The works reflect on how artists negotiate time, distraction, and discipline, proposing that creativity often emerges not from ideal conditions, but from the negotiation of everyday life itself.
Daily Rituals (2022) explores the shifting nature of the artist’s workspace and the rituals that shape creative production. Developed during a period in which Scott became increasingly preoccupied with the search for a studio of his own, the series reflects upon the blurred boundary between domestic life and artistic practice. Working primarily from the kitchen table - echoing the improvisational conditions described by Hannah Höch - Scott began to question whether creativity is defined by a physical location or by a state of mind.
Encounters with the writings and practice of Gabriel Orozco proved formative. Orozco’s rejection of the studio as a fixed or privileged site of production, instead proposing the world itself as a place of work, encouraged Scott to reconsider authorship, routine, and observation as creative tools. The resulting works examine how artists construct meaning through habit, attention, and circumstance rather than through controlled environments alone.
The title of the series draws directly from Daily Rituals: How Artists Work by Mason Currey, a study documenting the working methods and personal routines of writers, artists, and thinkers. Inspired by these accounts, Scott sought to visualise the multiplicity of creative approaches, imagining the studio as something continuously assembled through action rather than architecture.
Through collage and layered composition, workspaces appear fragmented and reconfigured. Tables, tools, and domestic objects drift between order and improvisation, suggesting environments shaped as much by interruption as intention. Playfully, each work adopts a title derived from quotations within Currey’s text, accompanied by the initials of the referenced artist, subtle acknowledgements of the invisible lineage of influence that underpins creative practice.
In Daily Rituals, the studio becomes both physical and psychological terrain. The works reflect on how artists negotiate time, distraction, and discipline, proposing that creativity often emerges not from ideal conditions, but from the negotiation of everyday life itself.
