“In these works on paper, Tulay deploys glimmering light and
contrasts of texture to create dreamlike spaces in which structures
exaggerate perceptions of depth and motion.”
“Scott Tulay – Space is the Place”
Boston Globe "picks of the week" 2016
Jill Connors. "Urban Legend" Design New England, July/August 2010 - Drawings in model apartment designed by Meichi Peng - W Hotel
drawings also published in Architecture, Contract, Build Boston Magazine and Schwartz/Silver Architects monograph.
Andy Smith. "Michael Reedy, Scott Tulay Offer "Ghosts and
Shadows" in New Show" Hi-Fructose April 22, 2017.
Andy Smith. "Scott Tulay's Ghostly Drawings Triumph in Design, Disorder" Hi-Fructose November 17, 2016.
JL Schnabel. "The Art of Scott Tulay" Hi-Fructose, November, 2011.
KROB Architectural Delineation Competition - winner in professional hand category (2008) and finalist (2009)
Joshua Rose, editor, American Art Collector
The architectural firm where Scott Tulay works was recently commissioned to design church in Hadley, Massachusetts, a rural area filled with old tobacco sheds dating back at least a century. As it happens, Tulay's grandfather grew tobacco on such a farm, so Tulay found in these structures a vehicle for his artistic expression that related to him on both a personal and aesthetic level.
"I just have a connection with these beautiful, vernacular structures," says Tulay. "The light that comes through them is amazing; it's this beautiful ethereal light that streaks in. So, these works were inspired by light studies for these projects. And what I'm doing is contrasting the light and the mass of the shadows that create these rich, graphic patterns."
This contrast also played into another interest of Tulay's, which is the dissolution of the edge between a building and the landscape around it.
"I explore the nebulous relationship between assemblies of walls, beams or grouping of trees and the landscape beyond," says Tulay. "This series of charcoal, pastel and ink drawings explores varying degrees of human intervention with the landscape."
Each of these drawings begins with a view towards the sky. Tulay first draws these skyscapes and then layers them with more architectural structures until they turn into one of these barn drawings.
"The sky is layered with various degrees of human presence, whether with a simple phone pole or a complex structure," says Tulay. "The light struggles to penetrate these spaces as their forms are fragmented by dark shadows."
Part of the process in each of these drawings is playing with the white of the paper that makes up the light. Sometimes the white becomes and object while other times it becomes a slot for light.
"There is an ambiguity to it in terms of how the elements go together," says Tulay. "What I want to do in these drawings is blur the distinction between inside and outside, and I find myself working with that more and more. The more I push it, the more interesting they are."