Despite the comparison to Creative Growth artist Judith Scott, Pedemonte’s process and finished work are entirely different from Scott’s (whom he never met), demonstrated by their tactile and enigmatic presence. Like his sculptures, his works on paper begin with a drawn figure that he obscures with frenzied mark-making and sweeping gestures that cover his workspace and reach beyond the paper’s edge. Watching Pedemonte’s work is like an athletic or performative feat – he is grounded by the use of his body as a tool for expression.

Tony Pedemonte’s earliest works consist of abstract drawings that begin with a figure and become obscured with energetic mark-making and sweeping gestures that reach beyond the paper’s edge. Eventually, Pedemonte began to incorporate materials within his immediate surroundings into his works on paper, including yarn and wood scraps. Such tendencies led to the eventual shift to the creation of three-dimensional sculptures, for which he is known.

Like his drawing process, 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, following his intuition and rarely pausing to consider his next move.

His sculptures are distinguished by their smooth texture, limited palette, and geometrically driven configurations that conceal the work’s interior and offer intimate views through complex webs left open in its fibrous layers.

Although Pedemonte is primarily nonverbal, he often labels his sculptures as sea animals, influenced by his family’s fishing excursions. Pedemonte’s energetic practice is akin to an athletic or performative feat—his process and aesthetic are grounded by using his body as a tool for expression.

Pedemonte is a recipient of the 2021 Wynn Newhouse Award.