Creative director

Founder and Managing Partner of Carrie Scott & Partners, Carrie Scott has been a curator, Art Historian and arts writer since 2004. She has developed Modern and Contemporary collections in Europe and the United States, working with numerous businesses, executives and collectors to help them establish, manage, and maintain both corporate and personal art collections. Since early 2010, Scott has also worked side-by-side with visionary fashion photographer Nick Knight to curate his archive as well as curate exhibitions at the SHOWstudio Shop, a gallery that exhibited high profile contemporary artists like Douglas Gordon, Raymond Pettibon, Keith Tyson, Terrence Ko, and Anj Smith, alongside the work of dynamic younger artists like Tim A. Shaw, Courtney Andrews, Charlotte Kingsnorth, and Walter & Zoniel.   The SHOWstudio gallery is now globally recognised as having been a pioneering, ground-breaking platform that nurtured and encouraged creativity by combining the different art forms together in one space.  Before starting Carrie Scott & Partners in 2009, Scott was Director of Nicole Klagsburn Gallery, New York, where she worked closely with artists such as Beth Campbell, Matthew Day Jackson, Rashid Johnson, Mika Rottenberg, Adam McEwen, and Storm Tharp. Prior to that, she was noted curator of the Hedreen Gallery at Seattle University's Lee Center, and Director of the James Harris Gallery also in Seattle, Washington. In 2017, Scott appeared as a presenter on The Art Show, an entirely new art series that richly captures the artists of our lifetime that have inspired collectors and art lovers alike.

I was born in the mid 1980's and grow up in London. From always having a fascination with mechanical objects and relentlessly playing with lego as a child becoming a still life photographer seemed like a natural progression. There is something enormously rewarding about creating exactly whats in your head. I try and make my images on first glance look completely perfect but on closer inspection its revealed there are many imperfections, if you look closer at the 'Wrapping Paper Series' you can see all the joins and creases. I think this makes it look and feel like a photograph and not CGI.

London-based photographer

Filmmaker and Photographer