Interviews, Reviews, Opinions and Descriptions
Broken Pencil Magazine: A very insightful review of Vibrant Mood Swings
Midway Journal: Midway Journal Vol. 13 issue 1 has 3 of my paintings - January 2019
Palooka Magazine: Palooka issue #9 featuring my art - Winter 2018/2019
Agony Klub Magazine: Interview with me in Agony Klub Magazine - July 2018
Strublog: The always fascinating Strublog, written by Prof. Whit Strub is a must read.
The March 2018 edition has some very nice things to say about me.
Montclair Art Museum’s Young Curator Program 2013
Curatorial Statement excerpt for "Oddities " exhibit
...This aesthetic is taken to it’s lurid extreme by Scott Lewis. His work is a synthetic amalgam of figures and vignettes, collapsed to create an immersive world of a substantial complexity, expressed with a distinct technical fluency.
Montclair Art Museum's Young Curator Program 2012
Curatorial Statement excerpt:
….Scott Lewis' pieces "Red Eye" and "Tate" both have colors colliding and integrating to make beautiful masterpieces.
Island Arts Scene TV
Curator Ginger Shulick interviews Scott on Island Arts Scene in 2009
Staten Island Advance February 27, 2009
"Miasma" exhibition (excerpt) review
…And paintings and drawings by Scott Lewis, whose poignant text so beau tifully highlights the somet i mes distu rbing and brilliantly jarring imagery of his visuals.
Brooklyn Rail: Review of my art and exhibitions - 2005.
Newark Star-Ledger January 21, 2005
City Without Walls - review (excerpt)
Scott Lewis shows "Jessica and Sebastian," a brilliantly colored double portrait of imaginary suburban characters who "share a common obsession: the beauty of the common man or woman," executed in ink washes with a doodling intensity reminiscent of Max Ernst.
Greenville Community News (Wilmington Delaware) November 26 2002
Delaware Center for the Contemporary Arts - solo exhibit "Distorted, Extreme and True" review.
Finally, at the DCCA, The Beckler Farnily Gallery contains the work. of Scott Lewis, a convoluted artist who produces canvases which are an amalgam of painting artd illustration. They are rather macabre and gruesome, and at flrst sight appear to be simply weird blobs of color, wild exaggerations or caricatures, each with a deep, dark secret of its own. But, upon closer exam ination and a reading of the intricate titles created by Lewis (which are really long·narrative descriptions of the action being depict ed, in a sense the "story " of the painting - hence the idea of illustration), you realize that there is indeed method to his madness. These are almost morality plays in visual mode. The degenerate nature of both the narrative and the paint- ings themselves are a bit harsh, but at the same time imaginative and riveting. Lewis uses very bright colors for very dark subject inatter. Over and over the theme is the "lonely crowd" and lack of contact. Figures emerge from the mass of color, and as in "El Taro Hotel", images are all mixed up but still obvious. If you like some thing dark and different, you may enjoy Scott Lewis in "Distorted, Extr me and True".
DCCA News - Meet The Artists December 2002
Delaware Center for the Contemporary Arts
In his paintings, Scott Lewis composes his muscled characters out of extreme colors and inventive textures in a hallucinatory way to illustrate the emotions, feelings and desires that build the subjects psyches.
Resident Curator Kristen T Woodward on March, 2012
The intensity of such I have never seen before! I realize this was posted quite some time ago- I came across it searching for another work by title, and now I can’t take my eyes off of it. The accompanying textual narrative adds a sardonic edge to the already questionable derisive nature of the work. The explosive color scheme and active relationship of shapes to pattern almost overtake the abstracted imagery. I see an inherent violence to the competing jagged figures in the picture plane, though the viewer can make out a crowded table in the foreground of seated figures in a bar. The writhing lines and patterns within each of the characters break into shards of intense color. It’s almost like a mosaic becoming destabilized, threatening to destroy the integrity of its own form. Amazingly, this concentrated energy seems to be sustained through a larger body of work. While some offer small respites through relatively calmer space, I actually prefer the works such as Hank, and Ruth and Baxter, which arrest the viewer through unrelenting sensory engagement.
Resident Curator Kristen T Woodward on December 4, 2014
These new pieces including Constance don’t disappoint with their intense undulating organic shapes and saturated colors that are hallmarks within your previous series. The cool blue eyes of the main subject eerily direct the compositional movement in the piece through to the other theatrical characters. The contrasts of values and hue within the small shapes that make up their faces suggest carnival masks, or similar facial distortion. But I do find the mood of the overall exchange to be slightly sinister- perhaps because of alarm in the adjacent faces and the curling smoke in the top of the picture. Constance’s spidery fingers and nails are vaguely predatory, though this is in keeping with similar abstraction within the piece. The literary text accompanying her adds another sensory element to the visual overload of ecstatically obsessive pattern and contrast.
Now one of my favorites. It is from a blog about Newark authoried by a local with "strong opinions" . Keep in mind while reading this that the room was about 10" x 15", I was standing a few feet away from the writer and even appear in a photograph he took of my work.
...The back part of the small Index space is called the "Reception Room", and ordinarily serves not as an overflow space for the exhibit in the main gallery but as a separate exhibition space for a different artist. This time, it's Scott Lewis. Lewis's paintings are very colorful, and thus, tho grotesque, nonetheless decorative. I don't know that I'd want to be around them for an extended period, tho. DC Smith, one of the principals of IAC, asked what I thought of the show. In that we were both in the Reception Room at the time, I took his query to mean the Scott Lewis part of the show, and answered, of that artist, something like, he seems "Strange, but probably not dangerous." I asked another IAC principal, if Scott Lewis was present, because I wanted to get a foto of the artist by his favorite work. (I was, frankly, intrigued to know what the guy who created this ebullient but grotesque work looked like.) ... (I dislike names like "Scott Lewis" because either name could be a given name or surname, so you always struggle to make clear whom you mean, respectfully, without being either too familiar or too distant.) I found that the more of Scott Lewis's works you can include in a view at a given time (as above), the richer and better they looked. It's like a crazyquilt, in which a single patch might be unappealing, but a whole array of patches proves very pleasing.The Lewis artworks on display bore, nearby, descriptive texts I didn't have the patience (or good vision; I need to get distance glasses, because my near-vision specs are for work at a computer, 24" or less from my face, and in good lite) to read thru extensive descriptions...