An iconoclast, Scoccimaro challenges traditional values and aesthetics while himself becoming a style figure that society seeks to emulate. His practice bridges the gap between so-called “low culture” and the world of contemporary art.
Drawing on visual references and material techniques rooted in biker and surf culture, his work incorporates imagery associated with Tiki and Neo-Voodoo aesthetics, both central to the American surf scene of the 1950s and 60s. Yet the seemingly carefree lifestyle evoked by this imagery underscores the appropriation and erasure of cultural traditions. This layering of messages gives Scoccimaro’s work its absorbing, provocative, and often divisive edge. With irony and play, he undermines the hierarchies of high art, using a visual language that borrows from adult game-playing and nostalgia for countercultures diluted by globalisation.
Committed to his role as a sculptor, Scoccimaro pursues a dialogue between materials and scale in his work. His practice plays with cultural appropriations and mirrors society’s fascination with irony and postmodern references, hinting at how unresolved elements of the past continue to resurface. The result is a body of work that offers sharp insights concealed within playful, pop-inspired forms.
Since 2001, Scoccimaro has used photography and sculpture to explore and subvert social expectations. He was first recognized at FIAC in Paris for his Toppling Toys series – monumental sculptures decorated with symbols of American counterculture. His work has since been exhibited at venues including the École Supérieure des Arts et de la Communication in Pau, the Chapelle Saint-Jacques in Saint-Gaudens, VF Gallery in Marseille, Roger Pailhas Gallery in Marseille, the Stedelijk Museum Aalst in Belgium, and Fabrice Marcolini Gallery in Toronto.
