About the Artist. Bio, Exhibitions, and Residencies

Annamaria Michela Antonazzo is a London based visual artist whose practice focuses on painting, cyanotype, egg tempera and sustainable materials. Her work explores memory, erosion and the traces that remain after moments of experience. She prepares her own grounds, binders and pigments using traditional methods and often works on jute, cotton and recycled fabrics. These surfaces become a place where gesture, time and material behaviour shape the final outcome. Painting is treated as a slow form of research where fragments of thought can appear, fade and re emerge, holding both presence and loss.

She first trained in Fine Art Painting at the Fine Arts Academy of Lecce, where she studied drawing, colour and traditional techniques. She later completed a Masters in Graphic Communication Design at the same institution, expanding her interest in visual language, composition and experimental printmaking. This background links hand made processes with a strong sense of structure and image construction, and continues to inform the way she builds layered works on paper and canvas.

In her current practice she combines painting with cyanotype and photographic processes. Images are exposed, washed, over painted and sometimes partially erased, creating works that move between figure and abstraction. This approach mirrors the way memories are written, obscured and rewritten over time. Her research is grounded in ecological awareness, using non toxic recipes and reusable supports whenever possible, and in a commitment to traditional craft adapted for contemporary questions.

Alongside her studio practice Antonazzo develops workshops and collaborative projects with community spaces and art organisations in London. She is part of Naked Ashes, a collective that explores the body, memory and ritual through painting, sculpture and installation. Across these contexts she treats teaching, collaboration and material research as extensions of the same investigation into how images carry experience and how painting can remain open, porous and responsive to the world around it.