Index Code:

ART-CON-MAI

Orgin:

Italy/Brazil

Field Notes:

Clay knots tracks and bites register gesture as a serial structural unit across floor wall and film

Defining Moment:

The long clay arrays where rolled pieces line up on tables and floors turning domestic repetition into a topography of presence

Anna Maria Maiolino

(

1942–

)

ah-na ma-ree-a my-oh-lee-no

Maiolino built a world where repetition becomes intimacy — clay rolled, pressed, and cut into rhythmic sequences.

Her forms reveal labor as structural presence.

Structural Focus

Process as Form

The method of making defines the structure. Repetition, accumulation, or procedure becomes the visible logic of the work.

In Anna Maria Maiolino’s work, this approach appears where repetition and gesture respond to material resistance rather than formal intent.

Position

Process as Form

The method of making defines the structure. Repetition, accumulation, or procedure becomes the visible logic of the work.

In Anna Maria Maiolino’s work, this approach appears where repetition and gesture respond to material resistance rather than formal intent.

Material Intelligence

Material behavior actively determines structural decisions.

Systems of Clarity

Order and coherence arise through disciplined systems and constraints.

Gesture

Gesture functions as structure through disciplined, repeatable action.

Material

Material behavior governs form through weight, resistance, and constraint.

Structure

Structure holds the work through rules, joins, and controlled relationships between parts.

Art

Form operates as a site for material, perceptual, and conceptual inquiry.

Process Art

Work is defined by making, duration, and transformation.

Matter Painting

Paint operates as substance rather than image.

Anna Maria Maiolino

Structural Focus

Process as Form

Position

Process as Form

Observartory

In Dialogue

Anna Maria Maiolino

Structural Focus

Process as Form

Position

Process as Form

Observartory

By Structural Focus

In Dialogue