Critics’ Picks

Jackie Saccoccio, Portrait (Reverse), 2012, oil and mica on linen, 84 x 72".

Jackie Saccoccio, Portrait (Reverse), 2012, oil and mica on linen, 84 x 72".

New York

Jackie Saccoccio

195 Chrystie Street
October 21, 2015–April 22, 2012

Jackie Saccoccio’s latest solo show is flush with color. Aquamarines and dirty browns; pale purples and rusty yellows; neon greens and ruddy reds; petal pinks and mandarin oranges—all are swept over enormous linen canvases, creating panoramas of zestful abstraction. In each of her six works on view, it seems that up to fifteen, even twenty different hues coexist on one plane; the paints are poured in puddles and spread in light washes, drizzled and dashed in often overlapping brushstrokes, some curvaceous and swooping, others brief, at times bone thin. Saccoccio calls each work a portrait, but figuration is nowhere to be found. Instead, her spills of pigment favor the imageless image, spotlighting color over form.

This is not to say that her paintings are nonobjective, mere decorative surfaces; rather, her willful resistance to representation—created through layers upon layers of sloppy pours—allows a dialogue to emerge among the gamut of hues, as if colors were cast as characters. In Portrait, (Rapture), 2011, azure and cerulean are set off by bubblegum pinks, lemonade yellows, and dabs of orange the shade of Crush soda; each hue pops next to the lunch-bag brown that is smeared over the greater left side of the canvas. Or take Portrait, (Hermetic), 2012: Wedges of bright white paint appear almost acerbic next to the hot lime green, a shade that seems especially racy aside dusty browns—the pigments are soaked over each other, fighting for attention. The juxtaposition of color gives rise not to portraits from which an individual countenance might appear, but to emotional environments, which become objects in themselves.