| Statement
Tony Pedemonte’s earliest works were comprised of abstract drawings that begin with a figure and became obscured with energetic mark-making and sweeping gestures that reach beyond the paper’s edge. Eventually, Pedemonte began to incorporate materials within his immediate surrounds, including yarn and wood scraps. It was such tendencies that led to the eventual shift in the creation of three-dimensional sculptures, for which is known. Similar to his drawings, Pedemonte begins by constructing armatures of wood and reclaimed materials that become nearly concealed with layers of yarn and thread. Pedemonte works with high energy and intention - rarely pausing to consider his next move and following his intuition. His sculptures are distinguished by their smooth texture, monochromatic palette, and geometrically driven configurations that simultaneously conceal the work’s interior and offer intimate views through complex webs left open in its fibrous layers. Although Pedemonte is mostly nonverbal, he often labels his sculptures as sea animals, influenced by his family’s fishing excursions. Observing Pedemonte’s energetic practice is akin to an athletic or performative feat - his process and aesthetic are grounded by the use of his body as a tool for expression. Despite occasional comparisons to Creative Growth artist Judith Scott, Pedemonte never knew of her, or her process. Upon close examination, his work is markedly different than Scott’s, demonstrated by the phasing of construction, choice of materials, and wrapping technique.
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