Hand Me Downs
Vic Scott
Andie Scott
Leon Scott-Engel
January 22 - February 22
2025
Vic Scott
Andie Scott
Leon Scott-Engel
January 22 - February 22
2025
Flexitron is pleased to present Hand Me Downs, an exhibition of work by Vic Scott, Andie Scott and Leon Scott-Engel. Spanning three generations, from father, to daughter, to grandson, this exhibition shares an intimate look into the transference of skill and the different paths it manifests itself; at its core a love for painting as a hand me down.
When we think of inheritance, the first thing that comes to mind are the family heirlooms that are passed down from generation to generation, whether that be jewellery, an artefact, or title. In this case, however, that heirloom is not physical, but rather a trade or skill, passed down and taught on.
Two years on from Vic Scott’s passing, his paintings act as a physical memory for the love he had for the medium, and represent a seed which grew into two ongoing artistic careers in his daughter and grandson. This first of Vic Scott’s work, Pompeii Ruins (1993), shares an intimate look into his predominant subject matter and style, creating works deeply inspired by his love for impressionism, often depicting landscapes or winding city scenes visited on his travels. In the years leading up to his death, he gradually lost most of his sight due to macular degeneration, but continued to paint with the physical support of daughter and artist Andie Scott. In Untitled (2018) we see this eventual decline of vision, but what emerges is a painting free of restraint.
What was a pastime for Vic, became a profession for his daughter Andie Scott. Often working within community and public arts projects, her work Living Painting (after ‘The death of Marat’) (1997) marks a body of work from the beginning of her career with the Living Paintings Trust which focused on the accessibility of art, especially for people with visual impairments, notably leading to exhibitions at the Royal Academy of Art and National Portrait Gallery, where the touchable reliefs were exhibited alongside their master originals. Her research into vision-loss developed into an ongoing series of portraits, each a build up of lines that create an interpretation of how our eyes read a face, as seen in Leon (2001). The eyeball moves – saccades – very quickly, deciphering points of light and shadow. A defining tracking system in perpetual motion.
As a child, our first impression of adulthood comes from looking up to our parents. We begin dreaming up futures for ourselves when young, which later form into realities that, more often than not, have been influenced by the environment we were nurtured in. Based off a small mattress Leon Scott-Engel would sleep on as a child in his mothers studio, To the Moon and Back (2025) holds with it this subtle nostalgia from the artists childhood. Entitled after a common phrase often spoken when saying goodnight, it holds with it a soft impression of the hope, dreams and love that a parent passes onto their child, reflected on the sleeping figure in shimmery moonlit blues.
Across the three generations in Hand Me Downs there is no common style, but the threads of passion for making, something passed down and nurtured from a young age, can be seen throughout. It is perhaps the closest painting can come to a family business.
![]()
1. Vic Scott, Pompeii Ruins (1993), Oil on Canvas, 51cm x 66cm
2. Andie Scott, Living Painting (after ‘The death of Marat’) (1997), Bronze Powder, Urethane Resin, 22cm x 17cm
3. Vic Scott, Untitled (2018), Oil on Canvas, 30cm x 40.5cm
4. Andie Scott, Leon (2001), Oil on Linen, 40cm x 30cm
5. Leon Scott-Engel, To the Moon and Back (2025), Oil on Tailored Linen, Foam, 138cm x 69cm x 7.5cm
Biographies:
Vic Scott
Vic Scott (1928-2023) helped establish the department of Materials Science at Bath, later to become the Centre for Electron Optical studies of which he became chair. Bringing with him from Aldermaston his research on microprobe analysis, and his previously published papers. Vic continued to develop methods for quantitative electron probe microanalysis, becoming an expert in the field and culminating in the publication of the book he wrote with Glyn Love and Stephen Read in 1983. He lectured in Poland and Czechoslovakia in late 1970’s and early 1980’s as principle speaker and was made an Honorary Fellow for outstanding service in the field of analytical spectroscopy. He was an academic who empowered and inspired people towards their goals. Painting was one of his passionate pastimes along with playing football, tennis and gardening.
Andie Scott
Andie Scott (b.1963, Bath, UK) lives and works in London. She is a multidisciplinary artist working across painting, sculpture, costume for performance, theatre, community projects and text. She graduated with an MFA in Costume Design for performance in 2018 from LCF. Selected solo shows include Peterborough Museum of Art; UCLH, London; Flexitron, London;, Gallery 42, London; Victoria Art Gallery, Bath; She has also exhibited in a number of group shows including at the National Portrait Gallery, London; The Courtauld; Royal Academy of Arts, London; Sadlers Wells Theatre; Edinburgh Fringe Festival, Edinburgh;
Leon Scott-Engel
Leon Scott-Engel (b.1999, London, UK) lives and works in London. He completed his BA at Glasgow School of Art in 2022 and was awarded the Richard Ford Award and Research Residency at the Museo Del Prado, Madrid. He has had a recent solo show, Handle With Care at Pipeline in London (2023) and a duo show, Another Round, with George Richardson at Flexitron, hosted by Pipeline. Selected group shows include: Vigil: Dreams and the Afterlife, Shipton x Semester 9, Loods6, Amsterdam, NL (2024); Swab art fair, Split and Neven, Barcelona, ES (2024); The Way of All Flesh, Saatchi Gallery, London, UK (2024); Voyeur - The Space Between Us, HBH Gallery, London, UK (2024); Platforms Project, Technopolis, Athens, GR (2023); Inverted Corneum, Split, London, UK (2023); GRIDLOCK, Transmission Gallery, Glasgow, UK (2022);
Image credits:
Photographs courtesy of Flexitron. Photographer: Vanessa Walters
When we think of inheritance, the first thing that comes to mind are the family heirlooms that are passed down from generation to generation, whether that be jewellery, an artefact, or title. In this case, however, that heirloom is not physical, but rather a trade or skill, passed down and taught on.
Two years on from Vic Scott’s passing, his paintings act as a physical memory for the love he had for the medium, and represent a seed which grew into two ongoing artistic careers in his daughter and grandson. This first of Vic Scott’s work, Pompeii Ruins (1993), shares an intimate look into his predominant subject matter and style, creating works deeply inspired by his love for impressionism, often depicting landscapes or winding city scenes visited on his travels. In the years leading up to his death, he gradually lost most of his sight due to macular degeneration, but continued to paint with the physical support of daughter and artist Andie Scott. In Untitled (2018) we see this eventual decline of vision, but what emerges is a painting free of restraint.
What was a pastime for Vic, became a profession for his daughter Andie Scott. Often working within community and public arts projects, her work Living Painting (after ‘The death of Marat’) (1997) marks a body of work from the beginning of her career with the Living Paintings Trust which focused on the accessibility of art, especially for people with visual impairments, notably leading to exhibitions at the Royal Academy of Art and National Portrait Gallery, where the touchable reliefs were exhibited alongside their master originals. Her research into vision-loss developed into an ongoing series of portraits, each a build up of lines that create an interpretation of how our eyes read a face, as seen in Leon (2001). The eyeball moves – saccades – very quickly, deciphering points of light and shadow. A defining tracking system in perpetual motion.
As a child, our first impression of adulthood comes from looking up to our parents. We begin dreaming up futures for ourselves when young, which later form into realities that, more often than not, have been influenced by the environment we were nurtured in. Based off a small mattress Leon Scott-Engel would sleep on as a child in his mothers studio, To the Moon and Back (2025) holds with it this subtle nostalgia from the artists childhood. Entitled after a common phrase often spoken when saying goodnight, it holds with it a soft impression of the hope, dreams and love that a parent passes onto their child, reflected on the sleeping figure in shimmery moonlit blues.
Across the three generations in Hand Me Downs there is no common style, but the threads of passion for making, something passed down and nurtured from a young age, can be seen throughout. It is perhaps the closest painting can come to a family business.
2. Andie Scott, Living Painting (after ‘The death of Marat’) (1997), Bronze Powder, Urethane Resin, 22cm x 17cm
3. Vic Scott, Untitled (2018), Oil on Canvas, 30cm x 40.5cm
4. Andie Scott, Leon (2001), Oil on Linen, 40cm x 30cm
5. Leon Scott-Engel, To the Moon and Back (2025), Oil on Tailored Linen, Foam, 138cm x 69cm x 7.5cm
Biographies:
Vic Scott
Vic Scott (1928-2023) helped establish the department of Materials Science at Bath, later to become the Centre for Electron Optical studies of which he became chair. Bringing with him from Aldermaston his research on microprobe analysis, and his previously published papers. Vic continued to develop methods for quantitative electron probe microanalysis, becoming an expert in the field and culminating in the publication of the book he wrote with Glyn Love and Stephen Read in 1983. He lectured in Poland and Czechoslovakia in late 1970’s and early 1980’s as principle speaker and was made an Honorary Fellow for outstanding service in the field of analytical spectroscopy. He was an academic who empowered and inspired people towards their goals. Painting was one of his passionate pastimes along with playing football, tennis and gardening.
Andie Scott
Andie Scott (b.1963, Bath, UK) lives and works in London. She is a multidisciplinary artist working across painting, sculpture, costume for performance, theatre, community projects and text. She graduated with an MFA in Costume Design for performance in 2018 from LCF. Selected solo shows include Peterborough Museum of Art; UCLH, London; Flexitron, London;, Gallery 42, London; Victoria Art Gallery, Bath; She has also exhibited in a number of group shows including at the National Portrait Gallery, London; The Courtauld; Royal Academy of Arts, London; Sadlers Wells Theatre; Edinburgh Fringe Festival, Edinburgh;
Leon Scott-Engel
Leon Scott-Engel (b.1999, London, UK) lives and works in London. He completed his BA at Glasgow School of Art in 2022 and was awarded the Richard Ford Award and Research Residency at the Museo Del Prado, Madrid. He has had a recent solo show, Handle With Care at Pipeline in London (2023) and a duo show, Another Round, with George Richardson at Flexitron, hosted by Pipeline. Selected group shows include: Vigil: Dreams and the Afterlife, Shipton x Semester 9, Loods6, Amsterdam, NL (2024); Swab art fair, Split and Neven, Barcelona, ES (2024); The Way of All Flesh, Saatchi Gallery, London, UK (2024); Voyeur - The Space Between Us, HBH Gallery, London, UK (2024); Platforms Project, Technopolis, Athens, GR (2023); Inverted Corneum, Split, London, UK (2023); GRIDLOCK, Transmission Gallery, Glasgow, UK (2022);
Image credits:
Photographs courtesy of Flexitron. Photographer: Vanessa Walters