BEATRICE SCACCIA BOSIDAMJANOVIC GALLERY. NEW YORK SEPTEMBER 7- NOVEMBER 1, 2011

Bea Scaccia works on duration, that is that dilatation of time composed of rhythmic scansions, waits and restarts. She works in that archetypal area where writing and painting are the origin of common creative act: both of them are framed around the floating movement of the hand flashing past on an unbalanced oblique plane: there it leaves a fluid trace which dries up and remains imprinted. The pencil ossifies that thought and engraves it like a knife: softly colored backgrounds rise up it around it, by resistance, softened by the gentle gesture, where rigor becomes love.
An arc window, small, empty and white. No sight of infinite perspective or green panoramas, no light to cast darkness away. The window is constantly filtering between two worlds: a faraway distant one and an internal one that is narrow and claustrophobic. It is in this enclosed space that the tale takes place. A succession of events, one after another, that delineates a collection of human gestures from individuals unable to define their own identities. The figure in the drawings is caged in the small paper world, sometimes bright sometimes pitch black. Forced to repeat identical movements or perhaps engaged in the quest for a new meaning, this mysterious and androgynous character moves around first wearing women's clothes and then men's clothes, in a great emotional chaos. In this game, every role is interchangeable and at the same time today's loneliness is made more evident. Skirts and trousers, ties, heels and hats, shirts and bras: everything is mixed up, with no distinction and the main character of this paper movie becomes a paroxysmal figure, excessive and victim of his own interior conflict. Repetition, seriality and a fragmented narrative sequence are the key aspects of Scaccia's work. It is impossible to ignore the incredible precision and touch of Scaccia's hand, so skillful in drawing and able to give a nearly tangible "tension" to shapes.