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Inside the studio with Carol Scavotto

Multi-Media Artist Carol Scavotto is based in Rhode Island. Scovatto’s diverse artistic career has spanned decades. Scavotto has a BFA in Sculpture from the University of Massachusetts Amherst and has studied at the Jewelry Institute of Rhode Island.

She works in various mediums such as needle work, jewelry, painting and performance art. Much of her work is autobiographical and thus relatable to the viewer. Her introspective works are socially relevant as she uses her voice to address personal and social issues in a non-threatening way. In recent years, she has chosen playful doll-like figures which allow her to tackle difficult socio-cultural issues in a whimsical way.

Carol Scavotto, Bus Stop

Carol Scavotto, You too can be a model

A rediscovered interest in Japanese prints enabled Scovatta’s erotic themed sensual silk screen works. These images highlight the value of knowing one’s self-worth and challenge the viewer to engage with their own sensuality. Scovatta hopes her works will inspire viewers to harness the power associated with tapping into this sensuality.

For the past 13 years, Scavotto has exhibited works in national and international art fairs from New York City to Hong Kong. Her works have been displayed at The Affordable Art Fair in Amsterdam and at the CICA Museum in Korea. She has exhibited with Superfine art Fair and Clio Art Fair in New York City.

Scavotto’s work was on display with Alessandro Berni Gallery at Art Aqua Miami from November 30th- December 4th. You can check it out here: Alessandro Berni Gallery at Aqua Art Miami 2022 | Artsy

Follow her on Instagram to catch her daily TikTok/reels where she discusses her art and introspective thoughts of the day! @carolscavotto

Read the interview below to learn more about Scavotto’s art and favorite colors to work with!

I’m curious, how has your artwork evolved in the last several years? What do you hope

viewers will take away from your artworks?

I work in series that are spearheaded by emotion. I hope my work inspires people to look inward and question what may be stale viewpoints, along with a healthy dose of humor.


This series was an emotional response to social injustices to myself and others.

To execute the pieces, I dressed in costume and photographed myself in a staged situation.

Each character received a doll’s head that portrays the emotion felt. Then each image is cut

out of wood and the photograph is applied. The titles of these works are important – they are

part of the work itself and not a label for the piece. The moment of the solitary performance

remains frozen in time as a durational piece. A great deal of research fueled my empathy.

Needing an emotional break, I began creating erotic ink line drawings.


A simple line can carry a wealth of emotional information that can be sensually beautiful

without vulgarity. I find the fluid lines of the body beautiful. This series connects two

separate bodies into one harmonious image.

Carol Scavotto, Line Drawing #20

Carol Scavotto, Line Drawing #22


This erotic themed body of work grew as I recoiled from our acrimonious social climate. I felt

the need of a figurative, collective and supportive hug. The work is spoken from a sensual

female voice. She is confident in her value and worth both to herself and the society at large,

not one of objectification. The backstory addresses the power of female sensuality. Sensuality

can lead to sexuality; yet sensuality is a power in its own right. This body work celebrates the beauty and power of femaleness.


My silk works have had several transformations. The shift from one series to the next is as subtle as the aging process. On a day-to-day basis you do not notice changes then all of a sudden you realize things have changed enough to warrant a new series title. The sensual rhythmic line of my work continues, yet the content has shifted. In these new works, I am

creating a conversation between mores and styling of the Edo period with contemporary Japanese mores and street styling.

“As if you were chatting up your ancestors as an equal at the same age, yet hundreds of years apart.”

What is a day like for you when you are working on your art?

As a rule, I am in the studio creating by 8:30-9:00 AM. Much of my mental creative

process occurs while sleeping/ dreaming. I often get up in the middle of the night

and in the dark I write or sketch a thought. Once in the studio I begin to elaborate

on the idea. I do not check in with the outside world until I have finished with the

days creativity, usually 3-4 hours. The rest of my workday is spent on the business

end of my art practice.

What do you do in your spare time? What inspires you to create?

What inspires me is always a difficult question to answer, almost anything can.

Physicality is where I find rhythmic fluidity. I do ballet everyday either at home or I

take a class at the studio. I walk five miles a day, here is where I do most of my

reading via audio podcast and books. Music is always playing; I create to jazz music and drive to a wide variety of lively music. I am a dedicated piano student. I have very little spare time.

What can you share about your studio?

I have a home studio, so the entire condo is a portion of the studio. The basement/garage is storage of past artworks. There is work on all the walls and under any furniture that has a bit of space. I create in a small room on the 2nd floor. There are pros and cons to this arrangement. I can work whenever I want with no commute. The downside is it is challenging for studio visits.

You’ve spoken about your art being contemplative and meditative. What is important for

you to be able to be creative and work efficiently?

Much of my creativity occurs during the special space between wakefulness and

sleep. It is a time when my subconscious is in charge. There is an inner guidance and

stillness. Music and non-distractions allow me to maintain the calm inner openness.

Contemplativeness comes during the rhythmic process while using my hands. It is

freeform thinking while completing a manual task. Runners would call it a runner’s high.

Can you speak about the use of different materials, i.e. silk within your works? How do the

materials serve the commentary?

Each of my series has a specific voice. I have been a jeweler, painter, sculptor,

seamstress, performer, writer and several more things. Each different subtitle is a change

in materials not a change in the fact I am a creative. In that silent space, I speak of my current work begged to be on a substrate as sensual as the subject matter.

Where do you see your work evolving from here? Are there new socio-cultural concepts or

themes you’d like to tackle?

Funny you should ask that today. The current piece I am working on is still developing. There is an undercurrent that is shifting. I am listening to the silent space to see what it has to say.

Let’s end on a fun note; What are your favorite and least favorite colors to work with?

Cool colors create harmony to my vibration. Warm colors are difficult for me as they vibrate on a different frequency.


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