Article-interview published on Drome Magazine, January 2011

Beatrice Scaccia works on duration, that is that dilatation of time 
composed of rhythmic scansions, waits and restarts.
She is a sabre specialist of the sharp point and the graphite black.
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 anunbalanced 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 coloured backgrounds rise up it around it, by resistance,
softened by the gentle gesture, where rigour becomes love.

A. C. What does your predilection for drawing come from?

B.S. Drawing has always excited and fascinated me more than anything
else for its more milky, poetic condensed dimension. It is a language
which allow me to think more, to be more in contact with the message,
not to overdo. Besides, during my studies, I remember feeling always a
stronger emotion, even magnetic, towards the sketches, 
the light papers with steady pencil lines, inks and flake white.
I feel like I’m able to retrace something, a succession of thoughts, 
through drawing, more than through finished and wrapped up works.

A. C. Do you think New York is still a capital of art, considering
that the centers of art moved to the East?

B.S. A very friend of mine, she’s Chinese and lives in New York, often says:
“It’s worth spending some time in NYC”.I agree with her. Of course there are many 
other interesting and dynamic cities, but New York still keeps a magical aura. 
It is packed of foundations, residency programs, artist’s studios, galleries; 
I deeply love it and I think there is always something new to discover about 
contemporary art and its rules walking NYC streets, from time to time.

A.C. Are there any artists you think have a vital role of your work?

B. S. However much I follow and I’m fascinated by contemporary art, the
artists which are fundamental for my work are fairly far off in time. 
I love studying the compositions of the past,rather than an artist in 
particular. I have spent so much time observing the structure of the 
medieval polyptychs or the composition lines of one of the many 
Renaissance masterpieces. I’m always interested in the idea behind a 
work of art; I leave these thoughts to marinade in my mind and then 
they float back up to the surface, at times. As for contemporary art, 
I think there were some fundamental moments: the first time I watched a 
William Kentridge’s video or some Kiefer’s preparatory sketches.

A. C. Do you think it is still necessary to attend the Academy
of Fine Arts for the artist today?

B. S. I attended the school of fine arts in Rome. 
I obtained my degree 7 years ago and I don’t regret my choice. 
But I think that it’s not necessary to attend it nowadays, 
especially when you’re not sure about the quality of this institution 
which, honestly, has been decaying at a vertiginous rate. 
They have changed too many things; the students cannot focus on a 
course and get lost among lecture notes, less important or unnecessary
exams. I believe in the need of study and know visual languages, but 
there are so many different paths to do it. I have built my own 
knowledge and I keep building it by myself, day after day.

A.C.Do you like movies? Do you prefer theatre? Where does
your predilection for the narration come from?

B. S. I love movies and theatre very much. I think my predilection for the narration comes from this. 
I do in for literature and poetry in an insane way as well: I am deluged with books.
Some time ago, thanks to a friend of mine, I read a text on Debord’s cinema, where “repetition” was described as possibility, 
as impossibility of the identical. I was so impressed by it; this idea of dividing a possible big work in a multitude of little repetitive works, with the same scenic design, containing a silent story, obsesses meI try to realize “frames loaded with movement, coming from a missing film”

2010