What I’m Taking With Me – NYC, June 2025
I came to New York to engage. I came for connection, for clarity. I didn’t chase events; I managed energy with precision. There’s a particular
I came to New York to engage. I came for connection, for clarity. I didn’t chase events; I managed energy with precision. There’s a particular
Day 18 of 26 at Byrdcliffe.Three large paintings done. A fourth is nearly finished. Several successful experiments in disrupted realism and one small chipmunk who
I’m currently in residence at the Byrdcliffe Artist Colony in Woodstock, NY, where I’m developing a new series of paintings grounded in my framework of
One week in. One painting finished. The second is already pushing back. This is the good kind of resistance. The kind that tells me I’m

Post-Certainty in Cultural Context We’re living in a time that performs certainty at every turn—answers delivered instantly, confidence faked at scale. But the ground has
“Post-certainty” doesn’t mean we’ve given up on truth. It means we’ve stopped pretending that truth arrives as a complete picture. In a post-certainty world, we
Title: Post-Certainty: Painting in the Age of AI by Deborah Scott Author’s Note: This essay introduces a central argument behind both my painting practice and
What Can’t Be Known Still Belongs in the Frame Some stories aren’t told—they’re constructed around what’s missing. That’s the space I paint from. Whether or

The more I write about Structural Omission, the more I realize there’s a risk of misreading the word structural. It can sound like filler. A hand-wave. A
Before it was a painting, before it was a theory, structural omission began with a chart. Not a composition sketch. A two-by-two matrix used in psychology and