About

ABOUT THE ARTIST

The artist firing ceramics in a traditional open bonfire.

Snail Scott has been a sculptor since childhood, when she annoyed fellow kindergarteners by carving their crayons into tiny artworks. Pursuing this intent in more acceptable ways,  she went on to earn degrees in both art and architecture (with honors) at the University of New Mexico, and an MFA from Washington University in St. Louis.  After teaching sculpture and ceramics for fifteen years at the University of Missouri-St. Louis, she has returned to full-time work in her own studio.


Snail has worked professionally in ceramics, metals, and other media for over thirty years, and her sculpture has been shown in exhibitions and galleries from coast to coast, including Grounds for Sculpture and the National Sculpture Society. 


A STATEMENT OF ARTISTIC INTENT, AND POSSIBILITIES

My mixed-media sculpture is rooted in materiality and contradiction, with the intransigent physicality of objects standing in counterpoint to the ephemeral nature of intention.  By combining the human form with human-made components, wishful thinking is manifested as a tinkerer’s bootstrap transfigurations. Clay becomes analog for flesh, a referent that exists through myriad cultures and ties human identity to its primal origins.  I supplement this with metals for their aesthetics, for their useful physical properties, and for their deep association with the course of human civilization. Consider how tacitly we accept the notion of an ‘iron age’ or ‘bronze age’ as shorthand for the broad sweep of an entire historical epoch.  Metals exist in nature, but it is the working of metal that defines it through use, and the making of things which, for better or worse, has become a defining trait of our humanity. 


The human hand and arm are the images at the core of my work, as the most basic and essential of our tools, the ‘original equipment’ levers by which might we move our world.  Human-made constructs represent a ‘do-it-yourself’ apotheosis; a refusal to be subject to the gods, fate or circumstance. I use this imagery to suggest a ‘self-made self’ – the bootstrap creation of a higher existence built on cockeyed optimism and elbow grease, assembled at some workbench of the soul. Contradictions are rife; elevation and limitation may not be truly separable.


The ‘Armature’ series presents the metaphor of engineering as a deeply rooted human endeavor: a means to create the reality we desire.  In principle, it represents a rational approach to practical goals.  Often, however, engineering becomes an outward expression of less tangible, inchoate aspirations, in which the practice of making is elided with the process of becoming. 


My newest work is the 'Botanicals' series. It is still developing and finding its voice, but it feels critically important at this point in history, to address the relationship between human beings and our created environment, and the natural environment of the planet which hosts us. The human presence has left an indelible mark, but it is our task to find a rapprochement - a common ground - for coexistence and growth.


WHAT'S NEW IN THE STUDIO?

I will be attending the NCECA ceramics conference in Cincinnati, OH,  from March 14-18. 

See you there!


exhibition flyer

See my work with that of other artists and activists supporting human rights for Iranian women.

Forest Park Community College Gallery, St. Louis, MO, February 27-March 30. 

Closing reception at the Student Center, March 24, 6-8pm.


a backhoe at work on my driveway

Many years ago, I worked in a Santa Fe bronze foundry, learning skills which have been valuable in every aspect of my studio practice. Now that the new driveway has been cut and propane installed at my current studio, the building of my new small foundry is proceeding apace. I hope to be casting bronze again very soon!

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