Series of artworks with updates on American Cites and changing Landscapes.
FULL LIST OF ARTWORKS AVAILABLE BY INQUIRY
ON VIEW
CURRENT + RECENT EXHIBITIONS
FEATURED ARTWORKS
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Ghost Gardens of Detroit
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Flint Near Detroit, No. 4
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Hudson River Indian Point, No.5
American Cities & Landscapes Series
Series of artworks with updates on American Cites and changing Landscapes.
Please check back as new works and available selections are added continually with developing displays and informational pdfs.
As always, please inquire or contact us for more details or lists of available artworks.
California Wildfires

Paul Scott, “Cumbrian Blue(s), New American Scenery, California Wildfires No:1″, 2019, in-glaze screen print (decal) on partially erased ‘Beauty Spots of California’, Staffordshire souvenir transferware plate, 9.75 x 9.75 x 1.25”.
Ghost Gardens of Detroit

Paul Scott, “Cumbrian Blue(s), New American Scenery, Detroit Ghost Gardens No:2″, 2019, in-glaze screen print (decal) on salvaged Syracuse China with pearlware glaze, 12 x 12 x 1.25”, 30.48 x 30.48 x 3.18cm.
Hudson River Indian Point, No. 5

Paul Scott, Cumbrian Blue(s), New American Scenery, Hudson River, Indian Point, 2017, transfer print collage on shell-edge, pearlware platter c.1855, 10.5 x 12.75 x 1.5″.
Houston No. 2

Paul Scott, “Cumbrian Blue(s), New American Scenery, Houston No: 2″, 2017, in-glaze decal collage on shell edge, pearlware platter c.1850., 11.25 x 14.25 x 1.5”
Philadelphia

Paul Scott, “Cumbrian Blue(s), New American Scenery, Philadelphia, 2017, transfer print collage on shell-edge, pearlware platter c.1855, 13 x 16.5 x 1.5”.
Indian Point, Cup Plate
“New American Cites, Flint, Belle Island & The Ghost Gardens of Detroit”
I grew up in Birmingham, Britain’s ‘Motor City’, where the local economy relied on car manufacturers…. Austin, Morris (later British Leyland), Mini, Rover and all the associated motor suppliers. As a student in the early 1970’s, holiday working included ‘industrial cleaning’ in the huge Austin works in Longbridge… then two summers were spent in an engineering factory in Balsall Heath, assembling brake pipe adjuster clamps (amongst other things). When car production eventually ceased in the city, unemployment, and the impoverishment of communities swiftly followed. I clearly recall the dereliction, then later demolition of huge industrial sites, and the yawing empty spaces. A few years later, similar scenes also became familiar to me in the Staffordshire pottery towns as the British ceramics industry all but collapsed. I was thus well aware, from first hand experience, of the effects of deindustrialisation on urban environments and communities. A series of early Cumbrian Blue(s) artworks reflected the ruin and decay of my home town in prints and tiled panels…
California Wildfires
souvenir plate addresses ecological precarity by referencing the most severe wildfire season in California’s history that occurred in 2020.

Paul Scott, “Cumbrian Blue(s), New American Scenery, California Wildfires No:1″, 2019, in-glaze screen print (decal) on partially erased ‘Beauty Spots of California’, Staffordshire souvenir transferware plate, 9.75 x 9.75 x 1.25”.

Back of Paul Scott, “Cumbrian Blue(s), New American Scenery, California Wildfires No:1″, 2019, in-glaze screen print (decal) on partially erased ‘Beauty Spots of California’, Staffordshire souvenir transferware plate, 9.75 x 9.75 x 1.25”.
“New American Scenery, New York and Transferwares”
In the early part of the nineteenth century, tens of thousands of printed blue and white tablewares from England were exported to North America. Scenes of the newly independent United States were used in a myriad of designs and were characterized by a deep blue semiotic. Alongside printed wallpapers and textiles these transferwares formed part of the new media of their day. Pictorial in nature, their vitrified designs remediated prints from book or magazine illustration, melding them with floral and botanical borders. By the end of the century, they became highly collectible and the subject of a number of books, including RT Haines Halsey’s classic ‘New York on Dark Blue Staffordshire Pottery’. Published in 1899, the limited edition tome plotted the history of the genre, illustrated by sumptuous photogravures in blue depicting a comprehensive range of pictorial transferwares. 120 years later, in my New American Scenery series of artworks I updates some of these early subject matters of New York using 21st century alternatives.
Fleur.de.Sel’s New York
series of souvenir plates depicting New York City streetscapes drawn from the Instagram account @Fleur.de.Sel that appear timeless, illustrating the small businesses and cultural diversity that are increasingly at risk with the city’s dangerously inflated wealth gap.