Co_creation a la LYNDSEY

Aha! Solar Plexus Nexxus

Solar Plexus Nexxus. Oil and acrylic on panel. 2011.

A commission for Sean Dickman’s yoga practice room.

Cues: abstract, Urdhva dhanurasana, Hanuman, earthy tones. Go!

I loved getting into the pose on my mat before taking to the paintbrush . . . .


It Goes Both Ways. Acrylic on Found Metal Assemblage. 2011.

“Birthday card” for Jason Deem, fellow gemini.

Art for Baby

Moose-ette for Luke. Acrylic on canvas. 2011.

A baby shower gift for JR’s wonderful sister Kelly — due soon!   Excited to become Auntie Yaya all over again!

The Evolution of Sissyphus

Chop Wood, Carry Water. Acrylic on panel. 2011.

A commission for Julie Longyear’s boo’s bday, a beautiful barter with her Irie Star lineup!

Aloe. Ha.

Series of homemade postcard thank-yous for people who’ve supported my healing journey in beautiful ways . . . . xoxo!

Actively Seeking Commissions

I Hear You (2010). ~30" X 42". Oil on panel. Now available.

I want to smile down at you from your walls!  Heaven in 2011 = Now is the time to add a true blue Lyndsey Scott OG to your budding collection.  Mwah Kiss your face. Real art is for everyone.  I particularly love to remix trees and Brueghel’s Tower of Babel, but your whim is my command.   I am available to make paintings this February-March, so have your people call my people.

My 2011 itinerary requires a bit more cash flow than usual as I’m thrilled to seek out formal yoga training  to equip my personal practice and build a foundation to teach&play with the kid set.

Particularly I’m dreaming about training:

With Yoga For Youth, a phenomenal program out of LA that translates yoga into an accessible and inspiring resource for youth in juvy

At Esalen Institute Work Study, with based on the work of Gabrielle Roth’s Five Rhythms

At Kripalu Yoga Teacher Foundations Program 200h

AND! ACT FAST!  If you order soon, your painting comes with a yummy acro-yoga massage and free installation (if you train or teleport me to you ;) )

Loving what is,


Sisyphus remix remix

Acrylic and collage on board. 1′X 2.5′

Mount Hood

Oil on canvas. 2′X3′


Diva/Dish Acrylic paintings on vinyl placemats, (November 2010)

Josephine Baker, Lady Gaga, Kate Bush, Janelle Monae, Laurie Anderson

You Answer Something In Me

“You Answer Something In Me”/ Drawing contribution to the Poetry Scores auction, (2009)

“The House of God is also a Black Hole”/  Painting contribution to the Poetry Scores auction (2008)

“Together we are the perfect day, and among us dwells the light which does not fail” / Congloppoalous contribution to the Poetry Scores auction (2007)

Sisyphus Remix

Sissyphus Remix I: Up the Spine (2010);  Sisyphus Remix II: Each Cell its Perfect Work (2010) /  Acrylic on canvas

A surprise email from an old friend who moved to Philly yielded a request for two groupings of Sisyphus paintings.  He bought some from the MOVE show in 2004, and wanted these new groupings to be tailored — one for his work finishing his residency as a pediatrician, and one for his sister finishing her pHd in Chemistry.
Love Letter Factory ~ first official commission!

The occasional afternoon Craigslist creative-gig cruise yielded a most delicious proposition: create a handcrafted collage card for a kindly gentleman’s on-again off-again ladyfriend.  Please, let me!  We conspired about what kind of flower to buy (protea or bird of paradise? simple and elegant) and decided on everybody’s favorite Rumi. My favorite movable part is the butterflies’ snuggle-landing-pad.


Ever since I fell in love with the community members of the tribe Infrastructure (light posts, water towers, electricity lines, satellite dishes), Signs hold a special place in my soul.  I especially enjoy helping small businesses spruce up their street presence by creating colorful hand-lettered advertisements on glass, metal, or panel.

Living Murals

Argus Nest / Closeup of collage-painted surface at Artica. Collaboration with Lezlie Silverstein, 2004.

If these walls could speak, their story be always changing.  I love to use art and language to shape and shift an environment.  A few proven guidlines for me ~ either by invitation or permission, or easy to remove / non-damaging.   I want the work to be a gift ~ well-received or simple to get rid of.  Here are some interior and exterior examples:

I AM LOVED / Continuing installation on Cherokee Street. Inspired by the grafitti that used to be written across the plywood where Foam now is —  “LOVE” scrawled gigantic and sloppy. Shown here photographed with Jason Deem’s  RESTART and the Texas twins who aided installation.

TOPPLE in the Mission / Temporary installation in the Clarion Alley.

Transformateurs / Installation across from Cherokee Cuts and Cherokee and Nebraska.

We Incredibles/  Installation at Cherokee and Pennsylvania.  As described by a rollerskating ten year old: “I think this painting is about when all the adults finally quit their jobs and go outside to play.”

Nuestra Virgen de Traveling Mercies / Collaboration with Mike Pagano in spray tempera at Katie Mac’s for Mexico fundraiser.

Keeper of the Keys : Flood wall practice

Argus Nest / Ongoing project with LezLeider at Artica over two years.  Inspired by Saint Lucia and the mythological Argus monster.

We Come Together Like Opposites Attract /  New-sign installation in SF Potrero meditation on the oneness of villains/victims, interwovenness of dark/light

I Feel It All/  doodle-mural on the 3rd floor of the Flora mansion living quarters

Where there is Love, There is no Question / quickie in my childhood room at my parents’ house

Nothing can Separate Us / chalk doodle with kids at Cultivadores

Born Into Color!

Born into Color: an Installation at The Community Arts and Movement Project, July 2010

The show, during CAMSTL’S Open Studios 2010,  included paintings, drawings, and sculptures created during project residency at CAMP from April 2009-June 2010 when I lived and volunteered as the Events & Outreach Coordinator.  My residency goals were to broaden my perspective, grow relationships with local families, and find ways to support health.  I facilitated neighborhood potlucks, held drawing nights, wrote grants, weeded community gardens, created interactive murals, listened door-to-door, and alongisde Sarah Paulsen’s leadership, helped to start up the PEOPLES JOY PARADE – a joyful dancing-in-the-streets processional full of simple celebration.  Cayree Dobsch and I created “Gracespace” – an  art/yoga program for local pre-teens.  CAMP taught me about staying centered and self-nurtured while opening to be present to the worlds within worlds of wherever you are.


Ghettomorphosis / Closeup of interactive sand-box with Cherokee street ingredients

Galen Gondolfi asked Sarah Paulsen and I to collaborate on a show during Beverlyear – his year of inviting all female artists/curators to program Fort Gondo’s shows.  We leaped off from the word, Bricaleur ~

A term introduced by Lévi-Strauss (1962), describing a type of thinking and symbolization; the opposite of “engineer”. The engineer creates specialized tools for specialized purposes. The bricoleur is a “jack-of-all-trades”, who uses few, non-specialized tools for a wide variety of purposes. There is a loose connection between, on the one hand, the bricoleur and “primitive” societies, and, on the other, the engineer and modern societies (see evolutionism). For Lévi-Strauss, the two concepts are the point of departure for a complex theoretical discussion of “the science of the concrete” in premodern, “primitive” cultures.

Our project included a formal gallery show as well as a participatory series of events including a month-long quilting bee, a New Moon Women’s Circle, a movie night of short films, and a music show.  Here/s what I wrote for the catalogue:

“On Bricaleur-ing / The spirit that popped into my head when Sarah and I stumbled upon the word Bricaleur-ing was a magic lady dressed only in fishnets and a brick-painted cardboard box singing “She’s a Brick House” while dancing around* downtown.  A laughing, intuitive, spritely and simple force that judges no one, dips and glides between sore ‘mores’ and ‘who does she think she is?” – Free to be….  I hear the fine art stats as reported by the Guerilla Girls, and go in trends of avoiding galleries and museums as a result of the intermittent feeling of boredom/ego/cynicism/fatalism that can predominate imbalanced masculine work.  This invitation to curate as part of Beverlyear was a great little gauntlet: Go ahead and be that – instead of bitching about ladies largely seeming cut off from power-play in the mainstream art culture, or a feminine/nurture aspect being absent from ‘high art’,  why not enjoy playing around…. Stop focusing on what’s not and create what Is. The work culled as a result of the concept embodies unique sensibilities of lady-makers, and I really enjoy the conversations happening within various ‘clusters’ of pieces. I anticipate soulful connections as we transform the gallery space and spill into the neighborhood thru the end of the month

Ghettomorphosis: come as a child / My piece sprang into being when we hung the show and I felt the space.  I’m typically drawn to the eyesore wall that looks like it needs some TLC – collaborating with distractions and including the cute fixture faces.   This is an elaboration on a project I did with my kindergarden artists at the Saint Louis Language Immersion school —    exploring materials and building worlds to collaborate within.  These movable/symbolic bits were also a way I played with visioning the Cherokee Community Hub public plaza concept when the Hub was still a funded, formal project notion …. Very low-fi, Jungian sand-therapy sort of landscape architecture — the energetic lay of the land and the beings who shift it.  For the past two years my creative energy has largely been poured into community projects on Cherokee and in CAMP (The Community Arts and Media Project) – I am interested in how “available means” like song, color, friendliness, invitation, and compassion are creative gestures in the particular climate of the neighborhood.  In creative action I love to return to participatory, playful honesty I witness all the time in children I am lucky to work with.  This inter-actable mini=universe is both a celebration of the ideas and dreams generated by local relationships,  and a turning again toward allowing my own studio play and writing to be where I ground the conversation to root deeper.”

*Incidentally – you may have seen this lady in the Peoples JOy 2010 — Queen Bee read this description and proceeded to blow my imagination out of the water! She rocked the cardboard.

Surface Feel

Steering Whee!/ Gum, marker, found objects.  This happens at stop lights.

Go Back to When You Could See the Shape of Things/   My studio floor on Illinoise Avenue was the same as the kitchen floor I grew up with, in which i used to find bears and faces during dinner.  I remember when not everything was already named. . .

Leglove/ Marker, legs. This happens during long road trips.

The Flow Show

Installation with Holla Otter at Dana Smiths Cherokee Street Art Supply (April 2009)


At top: Incubator (2004)/ Ink and acrylic inside traffic cone

Left: Discovery of the Instrument at the See Six States Tower (2004)

Center: Collection of unused/forgotten (2002) / Traffic cones in china cabinet

Right: The Instrument (2005) / Oil on canvasboard

My Momma IS/stl

My Momma Is /  Laminated photocopy of original marker on shrinky-dink drawing

Inspired by Frida Kahlo and the amazing FIREDOG song (You Don’t Know My Momma) written by Mark Pagano and the youth of The International Playground.

Architectural portraits

Watertower/  Colored pencil on Bristol

Flora “Hero Doll” / Print on fabric, stuffing

Church in Elsah/ Watercolor and colored pencil on Bristol

Barn, Rantoul IL / Watercolor


Topple / After Brughel’s Tower of Babel

One of my favorite images to paint and paint again, I imagine the top of the ‘hourglass’ is the universe’s mirroring our attempt to “build up to God”  . . . . the complete shape is the story of our reaching and remembering how to speak and live the language without words.  One tongue, touch, move, sound, raw inter-speak. Glossolalia, squeeze through the middle and kaBloom!  Lately I want to flip the shape on its side, verticality given over to horizontality of Radical Equality.

The Living Tree(s)

The Tree of Knowledge of Gooeyville /  Oil and collage on canvas (2005)

The Living Tree / Community Installation at St. John’s Episcopal Church (2005-2006)

The first art I remember making for public consumption was a poster contest that won me a bike in first grade: after a big ice storm I drew a picture of the trees that had been damaged regrowing and healing.  I’ve always loved climbing trees, touching trees, collecting seeds, feeling how my lungs look like that.   The above images are process paintings I did in studio during the time I was creating a large tree sculpture project.

In 2005, I was commissioned by Pastor Teresa Mithen along with artists Jason Wallace Triefenbach and Patrick Ritchey to collaborate with the congregation in creating an inviting tree-bench to welcome parishioners into the fellowship hall.  Together with community members of all ages,  we created hundreds on hand-built clay leaves. The sculpting took place in nontraditional places such as Sunday school, park festivals, coffee shops, and bars with the intention to ‘publicize’ the democratic, relational act of grassroots design.  We fashioned a tree from native and found materials, fired the leaves, and installed them in a 3-dimensional arrangement from the ceiling, walls, and branches that emerge from the brick corner.  The truck and roots melt into two benches that welcome rest in the tree’s embrace. 

About me
Educated as a painter, learning as a yogi, and playful as a baby monkey: I am a willing human being __ emphasis on the Be. I am traveling-learning, designing projects to feed my inquiries while attracting adventures and connecting with tribes that grace my journey with experiential wisdom in creative healing and joyful sustainability. My passions are catalyzing radically simple + beautiful + fun intentional community, sparking spontaneous collaborative singing and dancing, acroyoga, permaculture, and loving children.