Alan P.Scott paints popular, prominently US sourced icons (Elvis, gangster movie scenes, hot-rods, pop sluts...) 'tagging' them with bostock patterns (spots, flags, exclamation-marks, splashes of sex, drugs, blah, blop, blap...) and indecipherable texts either of his own invention or collected from God knows where. Playfully mixing languages and contexts, poetry and sensationalist ad-crap visuals, always at pains to avoid the horrible cliché word and any explanation other than 'it was a good idea at the time', he never-the-less manages to produce serious, painfully executed, strongly contrasted images immediately recognisable as yap, yap, yap with a nihilistic penchant for confounding the symmetrical, off-setting the web-designer, buggering around with an early-eighties Commadore computer console with a beer in one hand whilst, with the other, complementing the nostalgia-hungry, peasant-feeding, sparkling-wine-dizzy collector on her discerning eye for classic poster-like, post-late blop-blap-blop painted commonly with a deeply textural brush stroke, in deepening shades of grey and white, with a revolutionary drip of red somewhere, maybe, and up to 23 other primary colours somewhere else; suggesting an occasional striking London accent. It may also here be suggested that

Alan P.Scott is DJ Elvis 2000 and can be found laying on obscure pop and smooch vibes at Berlin venues practically every night of his fun-crammed, bird-crammed, beer-crammed year. Book him through Wallywoods.

Alan P.Scott's 'IFO' (above) is featured in Wally's King Kong Klub War On Saatchi poster