Jackie Saccoccio and her abstract portraits

Jackie Saccoccio is an american artist that specializes in the creation of abstract portraits.

The faces caught on canvas don't have any human features and are made of different warm colors, leaving the viewer free of interpreting shapes and identifying the human traits as they please.

Her series is called 'Portraits' and displays canvas of big sizes with works all connected with another with a thin narration. Saccoccio is devoted to abstraction and her colors engage with the public, leaving clear the marks of her painting and creative process.
The personnel of Saccoccio created a precedent series called ''Shakti'', where it showed the artworks of twenty-five women artists of different generations that proposes a celebration of the female figure in the world of art.
Here is how she describes her process of painting: "I use paint in varying degrees of liquidity and apply layer upon layer, with anywhere from 10-50 plus 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.
In the "Portraits" series (beginning in 2011), the presence of the object, the canvas, continues to override pictorial space. Its amplified by the big central mass.

And now in Rome with its abundance of sculpture, it's being reinforced ten-fold. Odd, as I mean the sculpture has always been here, but my eyes weren't open to it."