“I use paint in varying degrees of liquidity and apply layer upon layer, with anywhere from 10-50+ passes. It’s an additive occupation. I mean, I cover things, but I rarely edit or wipe off. I want the canvas to record the entire passage of the painting experience, including whatever self-doubt and bravado that went into its making. I guess that’s my nod to Malcolm Morley. Using the trope of photo-realist gridding, he executed such tremendous temporal evocations, with each grid reflecting the gestural experience of the moment, so that the end product is as much a painting of a ship as it is a record of the daily shifts in expression/execution—a psychological form of cubism lain out in a grid form.
The disorientation may be initiated by my approaching the canvasses as sculptures. When making One to One (a site-specific 15’ painting at Eleven Rivington in 2010), I recognized a shift in my attitude towards the mark-making. I wasn’t developing passages toward a visually penetrable space, but building an object—a wall in that case. Despite using paint and linen, that adjustment in my intent altered the end result considerably.” [Jackie Saccoccio in conversation with Ridley Howard]
“When utilizing gravity, à la Sigmar Polke, Saccoccio pursues with energy the pictorial implications of this strategy, and she does not stop at the first interesting result, as Polke did. This was, for the latter, not a shortcoming; a pictorial interrogation of possibilities was not Polke’s thing. Yet Saccoccio continually revises her canvas by reversing its orientation, embracing the destruction of previous states with the aid of a brush, which she appears to use at some velocity. We cannot be sure of this speed—and so what? Reading and making a painting are entirely different matters. The life of a painting after it leaves the studio is made up of the viewer’s projections and reactions, a Faustian deal (the painter’s, not the viewer’s) that lasts for centuries. This is something newer media has yet to experience.” [David Rhodes on Jackie Saccoccio]
“It seems like a really reactionary, smarmy thing to do. Drips in abstract painting? It’s the thing you shouldn’t do. I don’t like when people lump me in with Abstract Expressionism to the exclusion of other influences—it’s certainly a huge influence, but it seems like drips really became a thing with them. It’s become a trigger point: “Oh, there’s a drip there, it must be Abstract Expressionism.” My drips are almost a mockery of that.
I guess this rebellious impulse comes from the idea of my initial approach to making artwork, my love of architecture and early foray into studying it. There’s this idea that paintings are things that get in the way of the architecture. There’s almost a hostility to paintings. It’s a challenge to make a painting that’s on par with the architecture it’s in, so that has a lot to do with the scale I work at as well. It’s a pushback against the architecture.” [Jackie Saccoccio in conversation with Dylan Kerr]