Saccoccio was born in 1963 in Providence, RI; lives and works in New York and Connecticut. Her works have been in museum collections worldwide, such as MET and Dallas Museum.
In new oil paintings in this exhibition, the allusion to the sublime is overt. By way of demandingly physical techniques, Saccoccio builds veils and layers to produce the skin of the painting. She drags and bounces massive, dripping stretchers over neighboring canvasses, using the stretched canvas as both drawing tool and paint recipient. The resulting calligraphic chance webbings are analogous to nature’s surfaces and the psychological and physical uncertainty that one encounters in nature. The subsequent overlay of a clumsy muscular pixilation counters the fluid aspect of gesture, creating a tension between nature and body, painting and viewer.
References abound throughout the paintings and prints, from J.M.W. Turner’s distressed ship metaphor, Jean Dubuffet’s raw manipulation of surface, performative paintings of Gutai group including Kazuo Shiraga, and Helen Frankenthaler’s sublime pours. In all there is a disciplined adherence to beauty as a carrier of meaning.