Paul Scott lives in Cumbria, North West England, in the type of rural area, which often attracts craft potters. Scott however, has gained international prominence in promoting a practice at odds with the traditional truth to materials and form/function concerns of craft potters, and indeed, of many studio ceramists. A leading proponent of ceramics and print, he has been instrumental in demonstrating the contemporary creative potential of a combination used in industry for hundreds of years to mass-produce decorative wares and tiles. The industrial associations of printed ceramics, the absence of direct traces of the maker's hand and the apparent lack of integrity in mechanically produced imagery, has not recommended this approach to ceramics purists. A decade ago finding print in a piece of studio ceramics would have been unusual, but it is now becoming a relatively common occurrence, not least because of Scott's pioneering example.

Dr Stephanie Brown in Pioneer Printer for Keramik Magazine, June/July 2001

Clay is often seen as an expressive medium. Studio potters speak of their pleasure in handling the raw material, in exploring techniques, and in creating form. Paul Scott takes a different kind of pleasure in his work. His engagement is with the surface rather than the substance of the clay, and even then he shows little interest in experimenting with its formal qualities. Instead he emulates the look of mass produced consumer wares. In spite of this (or perhaps because of it) his work is unmistakable.
In Paul Scott’s hands domestic ceramics mutate into subversive comments on our life and times. His manipulation of the established vocabularies of printed motifs and patterns, and his use of the traditional blue and white, gives his work a particular resonance that leans on our recognition of its roots.

Dr Jo Dahn in Remember Me catalogue essay for exhibition held at the University of Wales 2001