“Back to Eden” — Rutt
Emily Scott is originally from the beautiful and isolated Kootenai Valley in NW Montana and has recently returned from the UK to create from her new studio in San Antonio, Texas. She travels the world, seeking epic and everyday natural beauty. Self-taught and with her Irish grandmother’s early influence, Emily seeks to communicate the solace, calm, and intensity felt when listening to the sounds the earth makes . . .
ZO | WINNIE: 1...How would you describe your style and how has it evolved over time?
EMILY: Ethereal, mystical . . . I have become a lot more relaxed with my work over time, allowing pieces to develop organically rather than trying to be incredibly precise with every element and color. I love playing with depth and texture, and my color inclinations have muted with time as well.
ZO | WINNIE: 2...What are you trying to communicate through your art?
EMILY: That we are of nature. That nature is vital. That it is to be admired, valued and respected.
ZO | WINNIE: 3...What is the greatest aspect of working as an artist?
EMILY: I get to paint pictures that appear in my head and people pay me for them. I get to hang out with my dogs and listen to music all day. If I need a health day, I take one. If a friend is in town, I get to love them all I want. I can grocery shop in the middle of the day when no one else is there. Life could not be more epic.
ZO | WINNIE: 4...As an artist, what does “success” mean to you? “Creativity”?
EMILY: Success to me is being able to do what brings me the most joy and leave positive ripples in the universe while feeling financially secure. Creativity is simply making something that didn’t exist before. I know for some it is harder than others, but to me it is just letting what appears in the mind out in physical form.
ZO | WINNIE: 5...From where do you draw inspiration? Is there a place you go to feel inspired? Who are some other artists, past or present, that you admire?
EMILY: Nature. All nature.
I admire Monet’s work, and his disregard and rebellion against the established system. I love the work of Rachel Mia Allen, and Ansel Adams. I admire Ashley Longshore and what she has done for artpreneurs, and I love what Matt LeBlanc has done to bring his art to life on stage.
ZO | WINNIE: 6...What are some of your favorite pieces, and why? Which is your most personal piece?
EMILY: I love the soothing simplicity of the Playas, and the warm reminder of the beach that I was on while painting them. Both the Blue Mushrooms pieces make me super happy because mushrooms are so amazing and gorgeous. There are going to be many more mushroom paintings in the future. Antelope Canyon is important to me because it was the first piece I was really proud of. Backyard is definitely my most personal piece, I think because of the place I was mentally when I was working on it, and also because the finished piece just resonated with me so deeply. Lots of feels associated with that one.
ZO | WINNIE: 7...What has been one of the most difficult aspects of working as an artist? What advice do you have for people experiencing similar difficulties?
EMILY: Being patient, and persevering through the broke phase(s). It also took me a long time to be able to say “I’m an artist” when people ask what I do. As far as advice goes, I would just say to keep on working. Don’t slow down, don’t give up – if you put in the time and effort, you will be rewarded for it. Your business is only what you make it, and it never happens overnight. And be true to yourself, especially after you get to the point where you can afford to say no to certain projects that don’t align with your brand.
ZO | WINNIE: 8...Where do you see the field heading in the next 10 years?
EMILY: I think the traditional way of pursuing an art career via art school/galleries/representation is going to fade, as the internet takes over and individual artists can take charge of their careers. I think the newer generations of artists are going to have a leg up as well, being born into the technology and unfazed by the establishment as it has been.
Art in this interview © Emile Scott
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