Beatrice Scaccia is an Italian artist, based in New York since 2011. She received her BA-MA in Painting at the Fine Art Academy in Rome and grew up in a small town south of Rome (Castelmassimo, Veroli).
Never inclined to follow popular trends, often already dated, she has focused her studies on a solitary path. Particularly interested in the quietness of the Flemish interiors, in the irony of Alberto Savinio, in the art as an unavoidable means to bear pain of Carol Rama, Beatrice started to build her own world. She worked side by side with Gino Marotta, one of the most important visual artists during the sixties in Italy. Together they funded the no profit- space Inart, in Piazza Di Spagna, where Beatrice became director and main teacher for five years.
When Beatrice moved to NYC in 2011, she almost immediately found a job as painter assistant for Jeff Koons. She worked there for four years. Despite a crazy schedule and a stressful routine, during the years at Koons, she still managed to attend important residency programs (RU and Artists Alliance) and to have three solo shows (Two in NY and one in Milan).
Beatrice’s work is personal and should be read in existential terms.
She uses drawn-performers, face-less characters to underline human inability, powerlessness, temporality. Her figures are frozen in uncomfortable movements, stuck in a milky, undefined space.
Since she was very young, Beatrice has always felt overwhelmed with the simple fact of being alive. She experiences life as a painful illusion, something that isn’t really happening. The chance of disappearing in a blink makes everything appear like a parade, a performance where identities, sexualities, roles, are confused, exchangeable and meaningless.
“Human practicality, the illusion we have a goal, the illusion we have personalities and truths is endearing and, of course, dramatic” she suggests.
Her character-performers are almost harmless contemporary myths; they are no-ones, they are puppets, they are her alter-egos and they are never, ever real.
Opposing and distancing herself from the shocking, commercial culture of the Contemporary Art World, opposing her ideas to the prima-donna behavior so common nowadays in the art field, Beatrice chooses a strong withdrawn position.
As a firm believer that art is autonomous and needs no justification, Beatrice keeps working outside of the current trends and of the current pressures.
She mainly works with drawing, painting and animation.
Her drawing technique is peculiar. Beatrice uses gesso, wax and oil paint to glaze and finish most of her pieces, giving the surface a unique effect that sometimes makes the work double-sided.
Her work has been featured on Artnet News, Flash Art, The Art Newspaper, Domus, Marie Claire, Arte Mondadori, Drome Magazine, InsideArt, Art Fuse, Sole24Ore, Exibart, and Atribune.