Hugh Scott-Douglas was born in Cambridge in 1988, he lives and works in New York. He studied at the Ontario College of Art and Design in Toronto and the Pratt Institute in Brooklyn.
His work is concerned with systems of value, trade routes and the circulation of currency and commercial goods, exploring and enacting methods of migration, translation and transaction. His practice brims with motifs that reflect upon socio-economic structures and the dismantling of established paradigms and icons of consumerism, as can be seen in several distinct yet interconnected series. The ‘Chopped Bills' in particular deconstruct the quantifiable value of the image, as well as the power of currency, by magnifying the ink stamps that mysteriously materialize on American $100 bills once they are in circulation. Although it is illegal in the US to scan currency, and software programs are built without the requisite operating systems, with the addition of the stamps the notes' appearance are altered and they become susceptible to digital appropriation.
The multi-disciplinary practice of Hugh Scott-Douglas situates itself at the confluence of a number of critical, socio-political, economic and aesthetic observations and investigations. Interrogating tensions between analogue and digital modes of production, he makes use of a wide range of techniques and media, from laser cutting, inkjet printing and photography, to numerical data and satellite mapping software.
His work has been exhibited in solo shows at: Blum & Poe, Los Angeles, NY and Tokyo (2018, 2013, 2015 and 2019); Casey Kaplan, New York (2016); Tochigi Prefectural Museum of Fine Arts, Tochigi (2016); Rosenwald–Wolf Gallery, The University of Art Philadelphia (2015); Simon Lee Gallery, Hong Kong and London (2015); Croy Nielsen, Berlin (2014, 2011);
Jessica Silverman, San Francisco (2014 and 2012); Kaikai Kiki Gallery, Tokyo (2014); Clint Roenisch Gallery, Toronto (2011 and 2010) and in collective shows at: Columbus Museum of Art, Columbus (2016); San Francisco Museum of Modern Art, San Francisco (2016); Rennie Museum, Vancouver(2015); Worcester Art Museum, Worcester (2015); Yokohama Museum of Art, Yokohama (2015); Museum of Contemporary Art, Chicago (2015); Galerie Max Hetzler, Berlin & Paris (2015); Florida Atlantic University, Boca Raton(2014); Museum & Galleries of NSW, Sydney (2014); Hedge Gallery, San Francisco (2014; Museum of Contemporary Canadian Art, Toronto(2012); Luce Gallery, Turin (2012); Wallspace Gallery, New York
(2012); Brand New Gallery, Milan (2012) New Gallery, London (2010); Clint Roenisch Gallery, Toronto (2010).
According to the current legislation for the prevention and control of the epidemic of pneumonia due to coronavirus infection, the gallery will be closed until a date to be defined.
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