Hugh Scott-Douglas
Hugh Scott-Douglas
Hugh Scott-Douglas explores authorship, labor, and economic systems through image-making technologies, from 19th-century cyanotypes to cutting-edge AI. His practice often begins with found or computer-generated imagery and involves both digital and manual manipulation. For example, before printing Scott-Douglas edits using Photoshop and generative image software. He then experiments with printing on diverse materials like textiles or aluminum and hand-paints their surfaces.
Scott-Douglas (b. 1988, Cambridge, UK) has work in public and private collections internationally including the San Francisco Museum of Modern Art, CA; Museum of Contemporary Art, Chicago, IL; Eli and Edythe Broad Art Museum, East Lansing, MI; Art Gallery of Ontario, Canada, and Dallas Museum of Art, TX. His recent solo exhibitions include Gallery Baton, Seoul, South Korea; Blum & Poe, Tokyo, Japan; and a solo presentation at the Tochigi Prefectural Museum of Fine Arts, Japan. His work has been included in group exhibitions at Casey Kaplan Gallery, NY; MCA Chicago, IL; and Galerie Max Hetzler, Berlin, among others. Scott-Douglas studied at Pratt in 2005 and received a BFA in sculpture from OCAD University (Toronto) in 2010. Scott-Douglas lives and works in Connecticut.

Hugh Scott-Douglas
vexovoid, 2024
Detail

Hugh Scott-Douglas
vexovoid, 2024
Oil
Festool 6 in. Random Orbital Sander ETS 150/5 EQ-Plus 576088
Scan With EPSON PERFECTION V7500 PRO at 600dpi of photo by Dr. Paul Wolff. Agfa Stock – 1920
Image edited with Adobe Photoshop Generative Imaging v.25.0.31
Image edited with Runway.AI GEN-2
Printing with OCE ARIZONA 1680 Raven Lake Studios, Warwick, NY Technician: Steve Hoey
FX Effects #8 Blade
Superfine 8oz canvas
54 x 40 inches / 137.2 x 101.6 cm

Hugh Scott-Douglas
æther, 2024
Detail

Hugh Scott-Douglas
æther, 2024
Watch movement parts scanned EPSON PERFECTION V7500 PRO at 1600dpi
Printed on Dibond panel at KDF REPROGRAPHIC, ROCKLIEGH NJ on OCE ARIZON 1680
Technician Mark Pilcher
Image created with Adobe photoshop Generative Imaging v.25.0.31
CNC with SHOP SABER IS-M at EJ DAVIS AESTHETICS, BETHANY, CT
Technician Erich Davis
GAC 100, fiberglass screen, gesso, titanium white acrylic paint and screentone
Print of Scan captured with EPSON PERFECTION V7500 PRO at 600dpi
Generative Image created with Adobe photoshop Generative Imaging v.25.0.31
Printed on Dibond panel at Raven Lake Studios, Warwick NY on OCE ARIZON 1680
Technician Steve Hoey
80 x 53 inches / 203.2 x 134.6 cm

Hugh Scott-Douglas
Matters Principal, 2024
GAC 100, fiberglass screen, clear gesso, titanium white acrylic paint on Aluminum Stretcher
Print of Scan captured with EPSON PERFECTION V7500 PRO at 600dpi
Generative Image created with Adobe photoshop Generative Imaging v.25.0.31
Printed Raven Lake Studios, Warwick NY on OCE ARIZON 1680
Technician Steve Hoey
53 x 40 inches / 134.6 x 101.6 cm

Hugh Scott-Douglas
Matters Principal, 2024
Detail

Hugh Scott-Douglas
Natural History, 2019
Gesso, polyester resin, UV-cured inkjet print on canvas over dibond panel
60 x 40 inches / 153 x 102 cm

Hugh Scott-Douglas
Natural History, 2019
Gesso, polyester resin, UV-cured inkjet print on canvas over dibond panel
60 x 40 inches / 153 x 102 cm

Hugh Scott-Douglas
Natural History, 2019
Gesso, polyester resin, UV-cured inkjet print on canvas over dibond panel
60 x 40 inches / 153 x 102 cm

Hugh Scott-Douglas
Natural History, 2019
Detail

Hugh Scott-Douglas
Untitled, 2018
Detail

Hugh Scott-Douglas
Untitled, 2018
UV cured inkjet print, digitally printed polyester resin on dibond
53 x 40 inches
ADDITIONAL WORKS

Hugh Scott-Douglas
IOI-Service, 2017
UV cured inkjet and digital resin print on canvas over di-bond panel
80 x 53 inches / 203.2 x 134.6 cm

Hugh Scott-Douglas
Untitled, 2014
UV curable ink on styrene in frame, wrapped in Polyester with tape
Set of 10 photographs
Overall: 65 1/4 x 34 inches
16 1/4 x 11 1/4 inches each

Hugh Scott-Douglas
Untitled, 2014
UV curable ink on styrene in frame, wrapped in Polyester with tape
Set of 10 photographs
Overall dimensions: 73 x 40 inches
18 1/4 x 13 1/4 inches each

Hugh Scott-Douglas
Natural History, 2019
Gesso, polyester resin, UV-cured inkjet print on canvas over dibond panel
60 x 40 inches / 153 x 102 cm

Hugh Scott-Douglas
Natural History, 2019
Gesso, polyester resin, UV-cured inkjet print on canvas over dibond panel
60 x 40 inches / 153 x 102 cm

Hugh Scott-Douglas
Untitled, 2018
UV cured inkjet print, digitally printed polyester resin on dibond
53 x 40 inches

Hugh Scott-Douglas
BEX2 – Phoenician Express Service, 2017
UV cured inkjet and digital resin print on canvas over di-bond panel
80 x 53 inches

Hugh Scott-Douglas
FAL1 – French Asia Line 1, 2017
UV cured inkjet and digital resin print on canvas over di-bond panel
53 x 40 inches

Hugh Scott-Douglas
Trans-Tasman Services – Westbound, 2017
UV cured inkjet and digital resin print on canvas over di-bond panel
80 x 120 inches / 203.2 x 304.8 cm

Hugh Scott-Douglas
TPS Eastbound, 2016
UV cured inkjet print, digitally printed polyester resin on canvas
Each panel: 53 x 40 inches / 134.6 x 101.6 cm

Hugh Scott-Douglas
Untitled, 2015
Dye sublimation on linen
80 x 40 inches

Hugh Scott-Douglas
Untitled, 2015
Dye sublimation on linen
80 x 40 inches

Hugh Scott-Douglas
Untitled, 2013
Laser Cut on gessoed linen
80 x 40 inches

Hugh Scott-Douglas
Untitled, 2016
UV curable ink on aluminum panel
53 x 40 inches

Hugh Scott-Douglas
Untitled, 2016
UV curable ink on aluminum panel
53 x 40 inches

Hugh Scott-Douglas
Untitled, 2015
UV curable ink on dibond
80 x 53 inches

Hugh Scott-Douglas
Untitled, 2015
UV curable ink on dibond
80 x 53 inches

Hugh Scott-Douglas
Untitled, 2014
UV curable ink on wood panel
80 x 53 inches inches

Hugh Scott-Douglas
Untitled, 2014
UV curable ink on wood panel
80 x 53 inches

Hugh Scott-Douglas
Untitled, 2014
UV curable ink on wood panel
80 x 53 inches

Hugh Scott-Douglas
Untitled, 2014
UV curable ink on wood panel
80 x 53 inches

Hugh Scott-Douglas
Untitled, 2014
UV curable ink on wood panel
80 x 53 inches

Hugh Scott-Douglas
Untitled, 2014
UV curable ink on wood panel
80 x 120 inches

Hugh Scott-Douglas
Untitled, 2014
Folded billboard on wooden shipping crate
19 x 20 1/4 x 79 1/4 inches

Hugh Scott-Douglas
Untitled, 2014
Folded billboard on wooden shipping crate
19 x 20 1/4 x 42 3/4 inches

Hugh Scott-Douglas
Untitled, 2014
Folded billboard, wooden shipping crate
49 1/2 x 17 x 18 inches

Hugh Scott-Douglas
Untitled, 2014
UV curable ink on wood panel
80 x 40 inches

Hugh Scott-Douglas
Untitled, 2014
UV curable ink on wood panel
80 x 40 inches

Hugh Scott-Douglas
Untitled, 2014
UV curable ink on wood panel
80 x 40 inches

Hugh Scott-Douglas
Untitled, 2014
Diffused direct to substrate print on linen
Diptych
80 x 40 inches each panel

Hugh Scott-Douglas
Chopped Bill, Torn Cheque, 2013
Dye sublimation on linen, laser cut on gessoed linen
Diptych
80 x 40 inches each panel

Hugh Scott-Douglas
Chopped Bill, Torn Cheque, 2013
Dye sublimation on linen, laser cut on gessoed linen
Diptych
80 x 40 inches each panel

Hugh Scott-Douglas
Chopped Bill, 2013
Dye sublimation on linen
Diptych
80 x 40 inches each panel

Hugh Scott-Douglas
Chopped Bill, 2013
Dye sublimation on linen in road case
42 x 110 x 13 inches

Hugh Scott-Douglas
Chopped Bill, 2013
Dye sublimation on linen in road case
56 x 110 x 13 inches

Hugh Scott-Douglas
Torn Cheque, 2013
Laser cut linen in road case
56 x 110 x 13 inches

Hugh Scott-Douglas
Bit Rot, 2012-2013
Lighting gels from Rosco Swatch Book
80 Slides
Time and dimensions variable

Hugh Scott-Douglas
Untitled, 2011
Cyanotype on linen
76 x 56 inches

Hugh Scott-Douglas
Untitled, 2011
Laser cut on gessoed linen
60 x 40 inches

Hugh Scott-Douglas
Untitled, 2012
Cyanotype on linen
76 x 56 inches

Hugh Scott-Douglas
Untitled, 2012
Cyanotype on linen
76 x 56 inches

Hugh Scott-Douglas
Untitled, 2012
Laser cut on gessoed linen
40 x 30 inches

Hugh Scott-Douglas
Untitled, 2012
Unique artist slides, projector
Dimensions variable

Hugh Scott-Douglas
Untitled, 2011
Cyanotype on linen
76 x 56 inches

Hugh Scott-Douglas
Untitled, 2011
Cyanotype on linen
76 x 56 inches
PRESS

Second Nature: Abstract Photography Then and Now
VIDEOS
CV
Born 1988, Cambridge, UK
BFA, OCAD University, Toronto, Canada, 2010
Pratt Institute, Brooklyn, NY, 2005
Lives and works in New York, NY
Solo Exhibitions
2019
Hard Rain, Gallery Baton, Seoul, South Korea
Thank You Thank You Thank You Thank You Thank You Thank You, Blum & Poe, Tokyo, Japan
Spare the Wrench, Casey Kaplan Gallery, New York, NY
2018
฿o₫៛€$, Blum & Poe, Los Angeles, CA
2016
Tochigi Prefectural Museum of Fine Arts, Tochigi, Japan
Trade Winds, Casey Kaplan, New York, NY
2015
Solo exhibition, Rosenwald – Wolf Gallery @ The University of Art Philadelphia, Philadelphia, PA
Solo exhibition, Simon Lee Gallery, Hong Kong
Consumables, Simon Lee Gallery, London, UK
Solo exhibition, Blum & Poe, New York, NY
2014
Promises to Pay in Solid Substance, Jessica Silverman, San Francisco, CA
eyes without a face, Croy Nielsen, Berlin, Germany
A Broken Mule, Kaikai Kiki Gallery, Tokyo, Japan
2013
Chopped Bills, Torn Cheques, Bit Rot, Art Basel Statements 2013, Basel, Switzerland
The Cabinet of Dr. Caligari, Blum & Poe, Los Angeles, CA
2012
A Place In The Sun, Clifton Benevento, New York, NY
A cashed cheque, a canceled stamp, Jessica Silverman, San Francisco, CA
2011
Sitzprobe, Croy Nielsen, Berlin, Germany
Chinese Whispers, Clint Roenisch, Toronto, Canada
2010
An Invitation to Lubberland, Clint Roenisch, Toronto, Canada
Group Exhibitions
2024
Broad Picnic, Europa, New York, NY
2021
We Are Here, Jessica Silverman, San Francisco, CA
2019
Mass Spectacle, Eduardo Secci Contemporary, Florence, Italy
2018
Horizon Lines, Jessica Silverman at 288 Pacific, San Francisco, CA
Kinship, Jessica Silverman, San Francisco, CA
2017
A Sea Change, Jessica Silverman, San Francisco, CA
2016
The Sun Placed in the Abyss, Columbus Museum of Art, Columbus, OH
Cyanotypes: Photography’s Blue Period, Worcester Art Museum, Worcester, MA
Money – Good and Evil. A History of Ethics and Assets, Staatliche Kunsthalle Baden-Baden, Baden-Baden, Germany
Takashi Murakami’s Superflat Collection, Yokohama Museum of Art, Yokohama, Japan
2015
I Am Attracted None The Less, Casey Kaplan Gallery, New York, NY
Out of Office, MCA Chicago, Chicago, IL
Open Source: Art at the Eclipse of Capitalism, Galerie Max Hetzler, Berlin, Germany
Unfixed: New Paintings, ASU Art Museum, Tempe, FL
2014
Altarations: Built, Blended, Processed, Florida Atlantic University Galleries, Boca Raton, FL
Stars & Stripes: American Art of the 21st Century from the Goldberg Collection, Museums & Galleries of NSW, Sydney, Australia
In ___ We Trust: Art and Money, Columbus Museum of Art, Columbus, OH
White is the Warmest Color, Hedge Gallery, San Francisco, CA
NEXT, Arsenal Contemporary, Montreal, Canada
Bloomington: Mall of America, North Side of Food Court, Across from Burger King & The Bank of Payphones That Don’t Take Incoming Calls, Bortolami, New York, NY
In Transit: Between Image and Object, Massachusetts Museum of Contemporary Art, North Adams, Massachusetts
Walk The Line, Simon Lee Gallery, Hong Kong, China
2013
Phantom Sun, Bugada & Cargnel, Paris, France
Architecture Undigested, curated by Jessica Silverman, FUSED, San Francisco, CA
Pattern: Follow the Rules, Eli and Edythe Broad Art Museum, East Lansing, MI
2012
Trans/FORM-Matter as subject > New Perspectives, Museum of Contemporary Canadian Art, Toronto, Canada
Greek, Collaboration between Hugh Scott-Douglas and Ben Schumacher, Croy Nielsen, Berlin, Germany
Second Nature: abstract photography then and now, deCordoa Sculpture Park and Museum, Boston, MA
A Painting is a Painting is a Painting, Cul-De-Sac, Londong, England Like Minded (Curated by Micah Lexier)
Plug-In ICA, Winnipeg, Canada Liminal Boundaries, Luce Gallery, Turin, Italy
Phases, Wallspace Gallery, New York, NY
Into the surface, Brand New Gallery, Milano, IT
2011
Electrum, (Collaboration with Ben Schumacher), Reference, Richmond, VA
Forms and Inflections, Silverman, San Francisco, CA
2010
Parts Of A Hole, Xpace, Toronto, Canada
What Brings The Dust Together, New Gallery, London, UK
Absolutely, (Collaboration With Liam Crockard), Clint Roenisch, Toronto, Canada
Bad Sculpture, Young Art, Los Angeles, CA
Bibliography
2016
Loos, Ted. “Cyanotype, Photograph’s Blue Period, Is Making A Comeback”. The New York Times, February 5, 2016
Holten, Johan, Money, Good and Evil: A Visual History of the Economy. Bielefeld, Germany: Kerber Verlag, 2016.
Liptak, Nick, ed. The Sun Placed in the Abyss. Columbus: Columbus Museum of Art, 2016, 63.
2015
Cotton, Charlotte. Photography is Magic. New York: Aperture Foundation, 2015. Print.
Whyte, Murray, “Sterling Rd. gets an artistic polish,” The Star, September 29, 2015.
Rachlin, Natalia, “New Work by Hugh Scott-Douglas at Simon Lee Gallery,” Architectural Digest, February 4, 2015.
2014
Baker, Kenneth, “Hugh Scott-Douglas Mourns the Image,” San Francisco Chronicle, September 19, 2014
2013
Ellis Fox, Emily, “Hugh Scott-Douglas: Blum & Poe, January 12 – February 16,” Modern Painters, April 2013
Fox, James, “The Meteoric Rise of Blue,” Flaunt Magazine, September
Roberts, John, “A Moment with Hugh Scott-Douglas,” The Travel Almanac, issue 5, Spring/Summer 2013, pg. 60-62
Sandals, Leah, “Canadians Ship Out to Art Basel,” Canadian Art, June
Williams, Maxwell, “Discovery: Hugh Scott-Douglas,” Interview Magazine, online, 2013
2012
Aletti, Vince,“Hugh Scott-Douglas at Clifton Benevento,” The New Yorker, January 27, 2012
Katrib, Ruba, “Exposed Surfaces” Interview with Ruba Katrib, Mousse Magazine, 2012
Museum and Public Collections
Art Gallery of Ontario, Toronto, Canada
Dallas Museum of Art, Dallas, TX
Colby College Museum of Art, Waterville, ME
Eli and Edythe Broad Art Museum, Michigan State University, East Lansing, MI
Museum of Contemporary Art, Chicago, IL
Odermatt Collection
Pinault Collection, Venice, Italy
Sammlung Goetz, Munich, Germany
San Francisco Museum of Modern Art, San Francisco, CA