060 http://www.AmericanArtCollector.com
“He’s an extremely talented visual artist,” she adds.
“His work can hold its own among his peers.”
“I’ve had freedom in the world of painting,”
Scott explains, “because I’ve kept it to myself. The
paintings are now public. The exhibition repre-
sents 15 to 20 years of work. I had anticipated it
not affecting me, but it has.
“Everything I do is in conversation with my
spiritual journey. There are easy moments and
some are more a struggle. I don’t look too far
for inspiration. I paint or write about what’s
before me. It’s also about always being in the
moment. It’s about presence,” he continues. “The
time of Motherhood and Fatherhood paintings
is changing. Our children are growing. Those
moments are gone. But there are new moments.
Our relations are a relationship with God and
humanity and culture. They’re the best and
closest version of world peace I know.”
Oscar Wilde wrote, “Every portrait that is
painted with feeling is a portrait of the artist, not
of the sitter.” Scott knows that’s true. He mentions
a portrait in the exhibition of his son eating. “A
calm moment,” he recalls. “It was a little Scott/
big Scott conversation. I saw myself in him. The
painting is an homage to this little Scott who will
never be again. I’m sending him off as he crosses
a threshold into manhood.”
A reviewer in The New Yorker referred to the
“extreme musical honesty” of the Avett Brothers.3
Scott Avett in his studio.
Courtesy the artist,
© 2019 Scott Avett.
Photograph by Airtype
Studio.
4
Color Wheel, 2014,
linoleum block print,
45 x 43". Courtesy Betsy
and Greg Blinn and
the artist, © 2018 Scott
Avett. Photograph by
Lydia Bittner-Baird.
5
Jump the Boy, 2017,
silkscreen and acrylic
on canvas, 48 x 36".
Courtesy the artist,
© 2019 Scott Avett.
Photograph by Lydia
Bittner-Baird.
34