The starting point for this series ranges from the irony and tension in Goya’s depictions of elderly figures on swings to the theatricality of Fragonard’s Les Hasards Heureux de l’escarpolette. From there, Scaccia began to reflect on the word “swing” and its layered associations: shifting moods, emotional volatility, and the way femininity is often framed as unpredictable. She extended this play on language toward dancing, rhythm, and even the contemporary idea of “swingers,” exploring identity and the shifting roles or masks people wear.

This painting closely references Fragonard’s Les Hasards Heureux de l’escarpolette, particularly the shoes that have flown from two suspended feet and now lie on the ground. The frozen gestures evoke humor, fragility, and the passage of time, highlighted by the clock on the wall. Recurring motifs from her other works, such as the ribbon, appear alongside a hand mirror, shifting between delicate prettiness and, at times, a subtly unsettling presence.