Jeffery Scott loves photography for allowing him to produce work that painting never could. A skilled digital artist, Scott blends layers upon layers of virtual matter to create scenes that seem to materialize directly from the subconscious – a complex method that allows him to reach greater depths than with other mediums. For nearly a decade, this former production designer, painter and sculptor has been devoted to refining his brand of enhanced photo-composites. This rigorous process may seem contradictory to the raw immediacy of some of his work, but a closer look reveals extreme, almost compulsive attention to detail.
In fact, compulsion is an essential component of Scott’s work ethic: he creates in vast successions, exploring each topic through multitudes of angles, settings and styles. Deconstructed cyborgs, baroque human drama and classic erotica are the principal themes of Jeffery Scott’s oeuvre and each category includes dozens of striking images telling individual stories. In his series, Machines Like Us, Scott focuses on the merging of technology and the human form, in every setting imaginable. Old-timey parlors, mechanical temples, dilapidated warehouses, futuristic palaces, and contemporary settings enclose an alternate history – a world where vastly assorted robotic humanoids have lived (and questioned their existence) among us for centuries.
Perhaps the most iconic image from this series is A Modern Day Sagittarian. A gloved beauty, her waist a knot of exposed tubes, towers over a mechanism housing a glass heart. She’s curiously distorted, echoing both a centaur and the unnatural Victorian silhouette in the famed Max Ernst collage from Une Semaine de Bonté. A Modern Day Love Affair, also set in a not-so-distant past, is the Steampunk counterpart to the Sagittarian. In a sparsely furnished room, a goggled and high-heeled damsel seems to contemplate a similar mechanical predicament. What’s a robot girl to do?