The Space Between Us centers this inquiry in the relational. Scott’s invitation to her sister Iona Scott, to contribute a painting, proposes kinship as compositional principle, while collaborative works with Al Damidge, unfold as negotiated proximities — call and response, rather than merger. Recently engaged, Scott and Damidge approach the canvas as interlocutors, rather than amalgams. Their shared surfaces are not sites of merger, but a choreography of revelation and response. In this context, the “between” acquires philosophical weight; the interval between gesture and ground, self and other. It recalls Martin Buber and his insistence that meaning arises in encounter. Abstraction becomes connective, reparative — a field of interdependence, rather than isolation. If Modernism often mythologised the solitary heroics of the studio, these works propose instead a dialogic sublime; intimacy enacted in material time.
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