Beatrice Pediconi is an Italian-born visual artist based in New York.
Her research has been linked to a practice that flows between a variety of traditional mediums in order to achieve unprecedented formal and expressive methodologies.
Throughout her practice, Pediconi explores themes related to both personal and collective trauma and recovery through a broad range of techniques that often evade classification. The ambiguity of her work, which resists and evades forms of neat categorization, is its core strength. Its slippage between media and resulting imagery serves as a commentary on the impossibility of imposing limits on expression as well as a visual manifestation of the complexity of the politics of identity.
Pediconi’s artistic process involves the use of water. Impossible to completely control, this primary element allows the artist to explore questions related to notions of flux, displacement, and transformation. This liquid medium becomes the means by which Pediconi captures a flow of ephemeral images, painting and drawing through water in order to investigate the vestiges of an existence that reveals itself in all its fragility.
Over the course of many years, Pediconi has used numerous mediums to capture these temporary actions. These include photography, video, installation, and, most recently, the emulsion lift technique on paper and canvas. Her work interrogates the adaptability of humankind and nature as well as our shared transitory and vulnerable condition while simultaneously exploring the inevitable push toward renewal and regeneration.
In 1995, Pediconi was awarded an Erasmus Scholarship to the National School of Architecture-La Villette in Paris, where she studied painting and art history. Pediconi earned a Bachelor’s degree in Art and Architecture from La Sapienza University, Rome in 1999.
In 2008, she was invited to participate in the VII Biennial of Experimental Art, Saint Petersburg, Russia. She was also a recipient of the 2015 Videoinsight® prize for Italian artists.
Her work has been shown internationally in exhibitions including Cinema Ephemera, Central Brooklyn Public Library, NY, (2020); NUCLEUS/Imagining Science, Noorderlicht International Photography Festival, Groningen, The Netherlands (2017); The Other View: Italian Women 1965-2015, La Triennale di Milano, Italy (2016-17); Sequences VII, Real Time Art Festival, Reykjavik, Iceland (2015); Ensembles, La Photographie, Quand La Maison Européenne de la Photographie Collectionne, Les Rencontres d’Arles, France (2015); The Polaroid Years: Instant Photography and Experimentation, The Frances Lehman Loeb Art Center, Vassar College, New York (2013); The Edge of Vision: Abstraction in Contemporary Photography, Schneider Museum of Art, Ashland, Oregon (2012).
Pediconi’s work has been acquired by numerous public and private institutions, such as La Maison Européenne de la Photographie, Paris; Macro Museum of Contemporary Art, Rome; and Collezione Maramotti, Reggio Emilia, Italy (2013), among others. Her work has been published and reviewed in international magazines, including Il Giornale dell’Arte; Artforum; Harper’s Magazine; Art in America; and Photograph Magazine.
Pediconi has completed residencies at the Djerassi Resident Artists Program (Woodside, California) (2019); Yaddo (Saratoga Springs, New York) (2018); and the Lucid Art Residency Program (Inverness, California) (2010).
Her monographs include RED (De Luca Editori D’Arte, Rome, 2011); No Trace (Contrasto, Rome, 2011); 9’/ Unlimited, Collezione Maramotti (2014); and Beatrice Pediconi: Something Alien (Danilo Montanari Editore, 2016).