A gorgeous flood of lilac splats hedonistically across «Kumari»; the painting's surround configuration of expressively handled discs of green, aquamarine and red, all on a volatile stained ground of yellow, places it in a well -
established tradition of abstract paintings that read as cosmic metaphors (Pollock's drip paintings that were meant to mirror universal flux or more recently Julian Schnabel's blue splurge titled, tongue - in - cheek, «Portrait of God»).
If the Arte Povera movement challenged
established art conventions through its use
of found or «low» materials, and if
abstract expressionism was in many ways a
tradition of American hegemony during the Cold War and the ultimate in «high art seriousness» as practitioners confronted the sublime and the subconscious in their energetic output, Scott's
paintings are a strange hybrid
of both.