In the early 1970s, in works such as Counterpoint XXI (1974–5; Edmonton, Alta, A.G.), Scott combined thick acrylic slabs with correspondingly thick steel bars, exploiting contradictory qualities of transparency and brutal bulk, likeness and unlikeness. Gradually, opaque elements began to dominate, and by 1975 Scott was working exclusively in steel as in Mudra XV (1976; AC Eng), yet was dissatisfied. He admired sculpture characterised by a sense of tension and stress, analogous to the body in motion; for him steel that had already been processed was too inexpressive for his purposes. From c. 1980 Scott shaped his metal directly, forging contrasting complex elements with geometric forms in small but monumentally scaled sculptures. Dense, worked elements are used aggressively to embrace and activate space. By reconsidering the properties of abstract constructed sculpture, Scott expanded the possibilities and was an influence on younger British sculptors.
The New Generation (exh. cat. by I. Dunlop, London, Whitechapel A.G., 1965)
Tim Scott Sculpture, 1961–1967 (exh. cat. by C. MacInnes, London, Whitechapel A.G., 1967)
Tim Scott: The ‘Bird in Arras' Series (exh. cat. by K. Moffett, Boston, MA, Mus. F.A., 1973)
Tim Scott (exh. cat. by K. Wilkin, Edmonton, Alta, A.G., 1976)
Tim Scott—Skulpturen, 1961–1979 (exh. cat. by E. Franz, M. Pauseback and U. Weisner, Bielefeld, Städt. Ksthalle, 1979)
Tim Scott (exh. cat. by E. Franz and others, Brunswick, Kstver., 1988)
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