Corbett vs. Dempsey is pleased to announce Echo, an exhibition of new paintings by Jackie Saccoccio. This is the first full-scale show of Saccoccio’s work in Chicago.
Continuing and deepening her approach to abstract portraiture, Saccoccio’s newest paintings balance various contradictory forces – explosive energy, atmospheric and diaphanous space, majestic compositional sensibility, and radiant color combinations, sometimes joyous, sometimes tinged with melancholy. Extending the post-painterly abstract techniques of pouring and staining, Saccoccio creates skeins of crisscrossing drip lines, often adding pure dry pigment to the wet paint, imbuing them with colors not normally seen in daily life.
Saccoccio has been a quiet but insistent presence on the American painting scene since the mid 1990s. She received her MFA from the School of the Art Institute of Chicago in 1988, and has lived and worked in the Northeast ever since, basing herself in Connecticut and New York City. Over the last five years, Saccoccio’s visibility has risen dramatically, with a solo museum show at at the Museo D’Art Contemporanea in Genoa, Italy, a two-person show with Joanne Greenbaum at the Nerman Museum of Contemporary Art in Kansas City, and currently has work in a group exhibition at the Rose Art Museum in Waltham, Massachusetts, as well as critically lauded gallery shows at Eleven Rivington, in New York.
In the West Wing, CvsD presents new paintings by Chicago artist Matthew Metzger. From a series of works that stem from saxophonist Anthony Braxton’s landmark For Alto, each painting is a result of a meditation on the limits of one’s breath. At what point can a single inhalation, and its pensive outward blow, provide an alternative understanding of the distance between the end and a beginning, abstraction and representation, repetition and improvisation, form and invention?
Completing the March trifecta, in the East Wing CvsD is proud to unveil a group of vintage works on paper by the master abstract painter Morris Barazani. Drawings and watercolors made from 1948-1954, in the period just after he’d studied at the Institute of Design clarify Barazani’s position on the top shelf of Chicago’s abstract artists, delicacy and taste offset by ingenuity and risk.