Fine Western Art Collections
West Lives On Gallery

Scott Peck

 I grew up with the strange combination of brilliant parents in rural mountain poverty, always pushed by my eccentric father, a research physicist, to question the "how" and "why". My mother ended up becoming a fine archival bookbinder after somehow raising six kids with two adults, two dogs and a cat in a four room house. We never even had a real bathroom until the day we moved out when I was nearly thirteen. The oldest sibling, I was the only kid in my grade for my first seven years of school with a lot of time to reflect and watch the ways of my small world. After dropping out of engineering school to pursue fine woodworking in my early twenties, I had my first personal experience of "art" with two crazy hippies who could do amazing things with a blazing forge, raw steel and pile of hand tools. Almost overnight, with a few more moving experiences, I came to understand the importance of fine craftsmanship to the creative process while realizing that it alone was not the final goal.

Over the next couple of decades, I spent time and worked with a tremendous variety of superb artists and craftsmen. From every possible discipline, I noted with fascination the amazing commonality of traits between the truly gifted that separated them from the mediocre majority. I also never stopped looking for the source of that special magic we were all hoping to capture in our work.

By the time I was in my early forties my art experience had severely drifted. I woke up to find myself with a 20,000 square foot plant, too many employees and the literal million dollar overhead. Though I was doing amazing projects all over the country for the ultra wealthy, I was stressed beyond belief, waiting for the ulcer and the heart attack. Suddenly, with time on my hands and endless motivation, I began the cliche search for my new self. Having no idea as to what I was going to do, I did know that I wanted to be able to do it alone and that it had to incorporate both the technical and the aesthetic. It had to be affordable for all who were interested, not just the super elite, and I wanted anyone of any age to be able to appreciate it. The next years were full of endless hours of learning with a lot of experimenting with a tremendous amount of support from some really fine people. Discovering and putting new tools to work trying to extract a bit more of that elusive magic from a new direction was an integral part of that process and the most rewarding fun that I had had in a long time.

"Yellow Lizzie"
Photograph • 50" x 38"
$3,000

"Calla Lilly"
Photograph • 50" x 38"
$3,900

"Double Iris"
Photograph • 50" x 38"
$3,300

"Magic Bird"
Photograph • 30" x 40"
$2,000

"Rose"
Photograph • 23" x 30"
$1,400

"Siberian Iris"
Photograph • 50" x 38"
$3,300

"White Delphinium"
Photograph • 30" x 40"
$2,500