Growing up in Manhattan’s Chelsea neighborhood, DiMattio existed in a home where science and craft formed part of her everyday life- her mother being a ceramist and her father. The combination between textile making and exact study is reflected in her work, absorbing an interest in structure and surface, the clash of logic and intuition. She later studied at The Cooper Union and went on to receive an MFA in painting from Columbia University, formalizing the foundation that still underpins her work today.
Her work is built through layering, breaking, and recombining. In paintings, she stacks fragments of references—ornament, abstraction, cartoon, architecture—so that images never settle into one reading. In ceramics, she pushes porcelain past its limits, twisting and splicing until forms look both fragile and violent. Patterns from domestic textiles collide with motifs from art history, industrial objects, or even disposable packaging. What holds it together is not polish but tension: a sense that things could tip over, crack, or collapse, yet remain standing. By embracing that instability, she makes objects that feel alive and loaded with contradiction.
Her work now lives in collections including Saatchi, the Pérez Museum in Miami, and the Zabludowicz Collection—a recognition of how her practice keeps expanding the conversation between craft and contemporary art. Exhibitions across New York, Houston, London, and beyond have shown how this approach resonates widely. Institutions like the Blaffer Art Museum and Art Omi have dedicated space to her large-scale sculptures, while her presence at galleries such as Salon 94 and Pippy Houldsworth has cemented her reputation internationally.
