Photographer and digital artist Jeffery Scott conjures amazing characters, environments and situations that thoroughly blur the line between the real and the imagined. His works reveal in-depth philosophies, concepts and stories inspired by the world and society in which we live. Here is a brief interview with this amazing artist:
von Scaramouche: Do you recall the first artistic work that made a tremendous impression on you?
Jeffery Scott: Yes. The Persistence of Memory, by Dali (shown below), and Beethoven’s 9th Symphony.
vS: You started your artistic career as a painter and sculptor. How would you describe the artistic direction you had at that time?
JS: Confused. Searching. Frustrating. I had spent years searching for the proper medium to express the images in my mind. It was like trying identify a certain sound that no musical instrument could produce. I have now found the instrument.
vS: What prompted you to adopt photography as your medium of choice and what drew you to art of compositing?
JS: I remember when I was painting, all of the images started out with satisfaction. Seeing the sketch. I would be happy with it. It seemed to be an accurate portrayal of what I was seeing in my mind. Then, there was the transfer to canvas. That was the first indication of great disappointment. Then, when I would stand back and look at the “finished” image, I was completely let down. It was not the image I was trying to communicate. Painting was, and still is not the proper medium for me. I went back to photography when I saw the possibilities of image editing through Photoshop. Now I achieve EXACTLY what is within me. It contains all elements of what I have done in the past. At times, I can identify with the sculptor in me. The painter. The illustrator. The film maker. All of these elements collide in this one medium for me. I can not imagine being able to do what I do, without what I have done.
vS: You have divided your works in three series (Machines Like Us; Flesh Machines; Surreal Statements). Can you tell us about each series?
JS: On the website, yes. The three categories, as I see them for my next book, are a visual narrative from beginning to end. The Artificial people (or Bio Mechs) as seen in my images refer to humans as “Flesh Machines”. “Machines Like Us” refers to the Bio Mechs. “Surreal Statements” is how I see life and the world around me.
vS: What inspires and informs your work these days?
JS: Life and the world around me. My participation in that life. Human sexuality…..and I am not just reflecting on the act itself. The act is irrelevant. Relationships of any kind. Our sapient relationships as well as those that we have now with technology.
vS: From your perspective, who matters today in photography / compositing?
JS: I don’t follow it. I am not part of some “club”, if one exists. I know that my work matters to some, simply because they express that to me. They buy my prints and my books. Go to my shows, etc. So my art must matter to them.
vS: Will you have music playing during your photo shoots? Any musical artists whose music you find particularly inspiring when you do shoots?
JS: Occasionally I will play music during a shoot only for the model. I prefer quiet. I do, however, need music, or sound, during my creative process when I am alone and making the Art in front of my computer. It is part of the system of things. It comes in many forms. Everything from NIN to Beethoven.
vS: Can you tell us about the shoots for A Modern Day Sagittarian and A Modern Day Love Affair and the final works themselves?
JS: I can’t tell you much about Modern Day Sagittarian, simply because the image was done so long ago. I can say that it was probably the first successful realizations for me of humanity fusing with technology, and how I see that as a form of de-evolution. Hence the vintage look. Modern Day Love Affair is an extremely personal piece to me. It reflects where I am now, and Modern Day Sagitarrian shows where I was at then. Artistically. Technically. Emotionally. Modern Day Love Affair reflects on my relationship with the model, and her relationship with herself.
vS: Do you collect prints? If so, can you tell us about your collection?
JS: James Jean. Michael Hussar. Brandon “Ragnar” Johnson. Nigel Sade. Salavador Dali. There are others. But I can not remember. They are in storage.
vS: How would you describe the impact the internet has on the professional lives of photographers in general and yours specifically?
JS: Mass communication on an epidemic scale. If it were not for the internet, I don’t think my work would have been seen.
vS: Could you recommend one or two photography book(s) that one must have in their library?
JS: Anything about the collective works of Richard Avedon and Helmut Newton.
vS: What will be the title of your follow up book to Visions From Within?
JS: Existence Within the Mechanism: The Re-Engineering of Human Society
Thank you Jeffery!