Ian Scott is acknowledged as a seminal figure of geometric abstraction in New Zealand. His lattice paintings are one of the most recognisable and significant bodies of work. From the early 1970s Scott experimented with the endless possibilities of interweaving and overlapping lattice forms transforming a simple motif into a profound exploration of visual and structural principles.

After a short hiatus from this body of work Scott returned to the lattice form in 2008 with a new range of visual problems and solutions. A notable evolution in his artistic style, reflecting a sophisticated interplay between structure and perception, was the slight turn of the canvas, making the conventional square a diamond. While still keeping true to his systems and stylistic tropes (overlapping diagonal line), Scott unlocked a world of new possibilities. In Lattice No. 193 (2009) and Small Lattice No. 419 (2010) he challenges the viewer’s perspective by using the same composition and turning the lattice on its side. The new potential of the grid is prevalent in Small Lattice No. 430 (2012) where the edges of the work are now read as part of the lattice itself.

Along with the examination of structure and form, the illusion of space, rhythmic patterns, and variations in the application of paint, colour became a recognisable part of Scott’s visual language. While other artists in New Zealand were exploring defused, flat light and earthy contrasting tones, Scott boldly and unapologetically played with strong and vibrant hues to create spatial interest and complexity. In a number of his later lattices, he investigates the role of colour within a restricted palate. Monochromatic paintings such as Lattice No. 206 (2010), Lattice No. 205 (2010) and Small Lattices No. 419 (2010) and No. 340 (2008) thoroughly examine the visual impact of a single hue and the interplay of black and white to create dynamic optical effects.

Although deeply rooted in the conversations of modernism, Scott’s lattices reach far beyond modernist conventions. His ability to transform geometric elements into layered visual experiences give his paintings as much relevance today as half a century ago. Patiki patterns (Lattice No. 227, 2011), woven knots (Small Lattice No. 430, 2012), Celtic crosses (Small Lattice No. 340, 2008), colours of the “kiwi” suburban environment (Lattice No. 226, 2011), and the architecture of space (Lattice No. 200, 2010) are embedded within, inspiring contemporary conversations around cross-cultural symbols, universal visual language and the pertinence of identity.