Bianca De Maio
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Bianca De Maio is an Italian artist based in Southeast London. She was born and educated in Naples, Italy and from a very young age she has been interested in drawing and oil painting.
As an educator, art historian, conservator, and painter, De Maio has a rich degree of experience when considering printmaking, which now constitutes the bulk of her professional practice. The subtleties of these professional practices when combined with (the sometimes indescribable) life experiences and the narratives and psyche of the mythological give De Maio a rich subjective pool to draw from.
De Maio works her lino-cuts in a particularly novel way. The cuts themselves are transposed from a number of drawn studies. However, though this is a standard practice for most printmakers she cuts the lino in a slightly different way. She does not use regular lines drawn on a panel, but separate shapes cut and used as components that can be shifted to make each print similar, yet individual.
She applies Ink to the positives by using rollers and flat implements that allow for both accuracy, in the quantity and quality of ink application. Unlike the use of a brush, which can much more accurately load the print face, De Maio's technique both generates a degree of chaos in the materials as well as creating novel apprehension for both the maker and the beholder. As a consequence, every print has a particular and evident uniqueness. She proceeds by accumulating layers of levels, until the figure acquires its own communicative capacity, based
on the qualities it expresses, regardless of the quantity of matter. This method of working, appeals and responds to her interests in cosmology, mathematics and mythology. Currently she is mainly exploring the sense of the body, both in physical and psychological contexts.
As an educator, art historian, conservator, and painter, De Maio has a rich degree of experience when considering printmaking, which now constitutes the bulk of her professional practice. The subtleties of these professional practices when combined with (the sometimes indescribable) life experiences and the narratives and psyche of the mythological give De Maio a rich subjective pool to draw from.
De Maio works her lino-cuts in a particularly novel way. The cuts themselves are transposed from a number of drawn studies. However, though this is a standard practice for most printmakers she cuts the lino in a slightly different way. She does not use regular lines drawn on a panel, but separate shapes cut and used as components that can be shifted to make each print similar, yet individual.
She applies Ink to the positives by using rollers and flat implements that allow for both accuracy, in the quantity and quality of ink application. Unlike the use of a brush, which can much more accurately load the print face, De Maio's technique both generates a degree of chaos in the materials as well as creating novel apprehension for both the maker and the beholder. As a consequence, every print has a particular and evident uniqueness. She proceeds by accumulating layers of levels, until the figure acquires its own communicative capacity, based
on the qualities it expresses, regardless of the quantity of matter. This method of working, appeals and responds to her interests in cosmology, mathematics and mythology. Currently she is mainly exploring the sense of the body, both in physical and psychological contexts.
Bianca De Maio is an Italian artist based in Southeast London. She was born and educated in Naples, Italy and from a very young age she has been interested in drawing and oil painting.
As an educator, art historian, conservator, and painter, De Maio has a rich degree of experience when considering printmaking, which now constitutes the bulk of her professional practice. The subtleties of these professional practices when combined with (the sometimes indescribable) life experiences and the narratives and psyche of the mythological give De Maio a rich subjective pool to draw from.
De Maio works her lino-cuts in a particularly novel way. The cuts themselves are transposed from a number of drawn studies. However, though this is a standard practice for most printmakers she cuts the lino in a slightly different way. She does not use regular lines drawn on a panel, but separate shapes cut and used as components that can be shifted to make each print similar, yet individual.
She applies Ink to the positives by using rollers and flat implements that allow for both accuracy, in the quantity and quality of ink application. Unlike the use of a brush, which can much more accurately load the print face, De Maio's technique both generates a degree of chaos in the materials as well as creating novel apprehension for both the maker and the beholder. As a consequence, every print has a particular and evident uniqueness. She proceeds by accumulating layers of levels, until the figure acquires its own communicative capacity, based
on the qualities it expresses, regardless of the quantity of matter. This method of working, appeals and responds to her interests in cosmology, mathematics and mythology. Currently she is mainly exploring the sense of the body, both in physical and psychological contexts.
As an educator, art historian, conservator, and painter, De Maio has a rich degree of experience when considering printmaking, which now constitutes the bulk of her professional practice. The subtleties of these professional practices when combined with (the sometimes indescribable) life experiences and the narratives and psyche of the mythological give De Maio a rich subjective pool to draw from.
De Maio works her lino-cuts in a particularly novel way. The cuts themselves are transposed from a number of drawn studies. However, though this is a standard practice for most printmakers she cuts the lino in a slightly different way. She does not use regular lines drawn on a panel, but separate shapes cut and used as components that can be shifted to make each print similar, yet individual.
She applies Ink to the positives by using rollers and flat implements that allow for both accuracy, in the quantity and quality of ink application. Unlike the use of a brush, which can much more accurately load the print face, De Maio's technique both generates a degree of chaos in the materials as well as creating novel apprehension for both the maker and the beholder. As a consequence, every print has a particular and evident uniqueness. She proceeds by accumulating layers of levels, until the figure acquires its own communicative capacity, based
on the qualities it expresses, regardless of the quantity of matter. This method of working, appeals and responds to her interests in cosmology, mathematics and mythology. Currently she is mainly exploring the sense of the body, both in physical and psychological contexts.
Bianca De Maio is an Italian artist based in Southeast London. She was born and educated in Naples, Italy and from a very young age she has been interested in drawing and oil painting.
As an educator, art historian, conservator, and painter, De Maio has a rich degree of experience when considering printmaking, which now constitutes the bulk of her professional practice. The subtleties of these professional practices when combined with (the sometimes indescribable) life experiences and the narratives and psyche of the mythological give De Maio a rich subjective pool to draw from.
De Maio works her lino-cuts in a particularly novel way. The cuts themselves are transposed from a number of drawn studies. However, though this is a standard practice for most printmakers she cuts the lino in a slightly different way. She does not use regular lines drawn on a panel, but separate shapes cut and used as components that can be shifted to make each print similar, yet individual.
She applies Ink to the positives by using rollers and flat implements that allow for both accuracy, in the quantity and quality of ink application. Unlike the use of a brush, which can much more accurately load the print face, De Maio's technique both generates a degree of chaos in the materials as well as creating novel apprehension for both the maker and the beholder. As a consequence, every print has a particular and evident uniqueness. She proceeds by accumulating layers of levels, until the figure acquires its own communicative capacity, based
on the qualities it expresses, regardless of the quantity of matter. This method of working, appeals and responds to her interests in cosmology, mathematics and mythology. Currently she is mainly exploring the sense of the body, both in physical and psychological contexts.
As an educator, art historian, conservator, and painter, De Maio has a rich degree of experience when considering printmaking, which now constitutes the bulk of her professional practice. The subtleties of these professional practices when combined with (the sometimes indescribable) life experiences and the narratives and psyche of the mythological give De Maio a rich subjective pool to draw from.
De Maio works her lino-cuts in a particularly novel way. The cuts themselves are transposed from a number of drawn studies. However, though this is a standard practice for most printmakers she cuts the lino in a slightly different way. She does not use regular lines drawn on a panel, but separate shapes cut and used as components that can be shifted to make each print similar, yet individual.
She applies Ink to the positives by using rollers and flat implements that allow for both accuracy, in the quantity and quality of ink application. Unlike the use of a brush, which can much more accurately load the print face, De Maio's technique both generates a degree of chaos in the materials as well as creating novel apprehension for both the maker and the beholder. As a consequence, every print has a particular and evident uniqueness. She proceeds by accumulating layers of levels, until the figure acquires its own communicative capacity, based
on the qualities it expresses, regardless of the quantity of matter. This method of working, appeals and responds to her interests in cosmology, mathematics and mythology. Currently she is mainly exploring the sense of the body, both in physical and psychological contexts.
