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Ted Scott is an accomplished photographer, architect, graphic designer, lecturer, and a passionate traveller. Early in his adventures he was drawn to all things Japanese and took his Master's degree in the history of Japanese architecture from Tokyo's Waseda University, becoming fluent in spoken Japanese. He has conducted tours to Kyoto, Japan; Provence, France; and Tuscany, Italy.

Ted has been making photographs since 1969, and had his first of more than  two-dozen exhibitions at the Keenlyside Gallery in Vancouver in 1980. Subsequent exhibitions were in Vancouver, Toronto, France, and Brazil.

Ted’s photographs are in the collections of various individuals and corporations, and the Canada Council for the Arts. Ted has taught photography at Vancouver Community College, Ryerson University, the Ontario College of Art and Design, the University of Toronto, and at the Art Gallery of Ontario.


State Museum of Santa Catarina, Brazil; Stouffville Latcham Gallery, Ontario; Ryerson Art Gallery, Ontario; Bau Xi, Toronto; Bau Xi, Vancouver; Art Gallery of Victoria, B.C.; Burnaby Art Gallery, B.C.; Centre Culturel Columbien. B.C.; The Warehouse Show, B.C.; Robson Square, B.C.; University of British Columbia; Arts Club Theater, B.C.; Presentation House, B.C.; Malaspina Printmakers, B.C.; Mido Framers Gallery, B.C.; Keenlyside Gallery, B.C.


Canada Council Art Bank; Dynacomp Corporation; Thorne Riddell Corporation; Daon Corporation; and various individuals.

I strive – always – to make beautiful images. Photography allows me to preserve beauty so that I can enjoy that otherwise-fleeting quality whenever I please. Other than documenting beauty I hope to create it.  

Many of my pictures are, deliberately, somewhat ambiguous. Some images are isolated, then extracted in various ways from ordinary scenes, and the identity of the original subject may be lost in that translation from scene to print, from three dimensions to two dimensions.

Sometimes, in making a photograph, the highest levels of technique are invaluable; at other times they are irrelevant. In a few cases, the image is created by movement, or layer by layer, on film or digitally, one exposure after another, one fragment after another, so that the final image is not documentary but an accumulation of selected pieces, a re-assembly, giving birth to an entirely new image.

I hope viewers’ imaginations and life-experiences will create their own interpretations of my images.