Interviews, Reviews, Opinions and Descriptions
Curious Magazine - art in Vol.3 No.3 Spring 2021
Brushfire Literature & Arts Journal -University of Nevada - art in Edition 74, Volume 2
Broken Pencil Magazine: review of Vibrant Mood Swings
Midway Journal: Midway Journal Vol. 13 issue 1 has 3 of my paintings.
Palooka Magazine: Palooka issue #9 featuring my art - Winter 2018/2019
Agony Klub Magazine: Interview with me - July 2018
Strublog: Written by Prof. Whit Strub, 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.
Staten Island Advance February 27, 2009
"Miasma" exhibition (excerpt) review
…And paintings and drawings by Scott Lewis, whose poignant text so beautifully highlights the sometimes disturbing 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 exhibit
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 Family Gallery contains the work. of Scott Lewis, a convoluted artist who produces canvases which are an amalgam of painting and illustration. They are rather macabre and gruesome, and at first 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 examination and a reading of the intricate titles created by Lewis (which are really long narrative descriptions of the action being depicted, 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 paintings themselves are a bit harsh, but at the same time imaginative and riveting. Lewis uses very bright colors for very dark subject matter. Over and over the theme is the "lonely crowd" and lack of contact. Figures emerge from the mass of color, and as in "El Toro Hotel", images are all mixed up but still obvious. If you like some thing dark and different, you may enjoy Scott Lewis in "Distorted, Extreme 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.