Channeling the creative streak with

Molly Scott

Written by Danielle Irene

Published May 4, 2018

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According to her mother, Molly Scott was singing before she could even speak.


Scott’s lifelong creative streak would shift from a mere part of her to an integral part of her life. “I am now finally finding my space in the art world and branching out to work with creative platforms,” said Scott.


The multi-platform artist exercises her skills somewhat in the fields of singing and modeling, but foremost in the visual medium of collaging alongside written accompaniments. Scott, 25, grew up in Novato, California with her mother and grandmother as her parental figures.


“The empowerment and assurance of equality for all people, especially women and women of color, has always been something that was instilled in me by both of them. I am an intersectional feminist and most of my art centers around female subjects.”


“I believe that art and expression always have and always will have a powerful impact on society. Art is a way for those who feel voiceless to express their feelings, their thoughts, and beliefs through creative means. Poetry is a way to convey your emotions that can’t be described to people through conventional means of conversation, and it expresses those things in such a way that provokes feeling and thought from those reading.”


Scott was singing before she could even speak, and at age 25 she hasn’t yet stopped. And she knows exactly why.


“Art and poetry are forms of expression that encourages people to connect their own lives and experiences to yours. Art and poetry connect human souls to one another on a level that transcends the physical differences that people too often let cause a divide. They connect people on a level that transcends the ego and transcends hatred.”

To read the rest of our exclusive interview with Molly Scott and see content from the artist, get your copy of issue two today!

Stay up to date with Molly Scott on Instagram and check out her Etsy.

Read the rest of the articles from issue two.

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