Essay for the show "The perfect stage" 2012 THE JODY OF JUMPING BY BOSHKO BOSKOVIC Once upon a time there was a creature that liked to jump. It could twist, toss and twirl. It would skip, hop and leap into the air. This being wore a hat with real horns, they seemed like American bison. When running speedily the horns would protect the character from gettingcaught in the wind. And boy did it figure how to sprint, dribble, kick the heels and swing the body boldly! The face is always covered so I wonder if it is serious or humorous. I bet it must be lots of fun ‘cause it always seems to bounce with joy in all these drawings as well as the video animation. The attire is always in layers: there is some red pastel and oil color in the scarf, a bit on the horns too and some blue lines dispersed sporadically. Each drawing has a different perspective and angle of the body: you could look at it from the bird’s eye view, or it might be caught in a pose from the side or the worm’s eye view. Most of the postures capture movement, which is a product of the body and mind. The gestures encapsulated in these works on paper explore the territory between the static and dynamic conditions of the human form. In one instance, most of the weight is on one foot so that the shoulders and arms twist off-axis from the hips and legs, and it seems so entertaining. The texture and contrast in the drawings are attained through the use of pencil and gesso, a white paint mixture applied directly onto white paper, hence very difficult to control. The pencil is an easy tool to be in command of and all the positions are very clearly drafted with the use of graphite. The last layer on each work is wax, at the very end a warm coat is glazed over each drawing endowing it with a graceful shine and translucent quality making the drawing visible on both sides. At every instance this character seems to be quite free, having lots of airy white space around, leaving the imagination to fill the void around itself. What if it is true what the narrator says and this figure really wants to put the red tail between its legs and ride it for a while, hide a pillow underneath the shirt. What if we really did as the voice in the gallery instructs us; and we tie socks together to stumble and bounce, bite our tongues and jump on our bed. Beatrice Scaccia reminds us that life should be lived and that we should not neglect the simple things, which make our existence more plausible. She reminds us that life moves swiftly and we should not forget to realize what we always wanted. It might be going to Brighton Beach to get food, seeing a movie on Freeman Street or hearing a new band on the lower east side. We should try to fill our days with amusement and playfulness no matter what age. One can be serious yet not take themselves seriously at the same time, but very few individuals achieve this stage. Beatrice’s work radiates this balance – she is most dedicated to her oeuvre and her practice has been continuous. So far, she has been pretty successful at losing herself in the creative process and leaving the rational sphere at the doorstep of her studio. The wall installation comprises of a faint graphite drawing representing a bed, the animation positioned right above, allowing the individual to jump into infinity. While watching the motions it is easy to get drawn into the soothing voice of the woman with a British accent narrating intermittently segments of different accounts not related to each other. We follow the acoustic form of Beatrice Scaccia and ways it evolves from aesthetics, psychology and philosophy to poetry, playwriting and mythology. Her work always involves multiple tiers, whether it is a scarf, a hat, knee length stockings or a vest on top of a shirt. Scaccia is able to bundle amplitude of subjects under one roof. It is the through different processes that she is able to come to an end result as inthe current exhibition Perfect Stage. Drawing, sound, animation, wall installation are mere tools in creating a central character which is present in each work. The artist seems to have a tendency for finding escape in every situation: the street, the dinner, and a social event, where each location becomes a never-ending playground. Like many individuals Scaccia has the necessity to flee the mundane and nurture the playful mind. Play is possibly one of the origins of imagination, which in turn is essential for our own creative thought. She trusts that the viewer will unpack the plethora of references related to diverse gestures in her oeuvre and attach meaning to themThe artist has the need to express the lack of logic, which she transmits in the forefront of every piece. At the very core of Beatrice’s work is the necessity to stop making sane judgments and making sense. It is about the faith in humor and the absurd. By ridiculing the most banal situations in life, the artist depict in an intangible fashion the solitude and insignificance of the human existence. It is the human form with all its intricacies, contradictions and fragility that occupies the most creations of Beatrice Scaccia. The experience of the individual interests her on a deepest level and the different manifestations that are reiterated through a lifetime. Human condition relates to the concepts of freedom as well as its limitation. It can be translated as restriction due to the fact that one does not have control over certain circumstances such as birthplace, language or environment.However, even though some individual settings are set in stone they do not entirely determine a person and there should always be hope for new horizons and potentials that are to be reached.