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Shadow within a Shadow, 2024 Oil on linen 50 x 35 inches

Shadow within a Shadow, 2024
Oil on linen
50 x 35 inches

Time Chamber, 2024. Oil on linen, 50 x 35 inches

Time Chamber, 2024
Oil on linen
50 x 35 inches

Marble Cap, 2024. Oil on linen, 50 x 35 inches

Marble Cap, 2024
Oil on linen
50 x 35 inches

Awakening, 2024 Oil on canvas 68 x 78 inches

Awakening, 2024
Oil on canvas
68 x 78 inches

Sparrow Rising, 2024 Oil on linen 50 x 35 inches

Sparrow Rising, 2024
Oil on linen
50 x 35 inches

Blue Thunder, 2024 Oil on linen 74 x 60 inches

Blue Thunder, 2024
Oil on linen
74 x 60 inches

Lilith, 2024, Oil on linen

Lilith, 2024

Oil on linen

50 x 35 inches

The Violet, 2024 Oil on linen 74 x 60 inches

The Violet, 2024
Oil on linen
74 x 60 inches

The Dove, 2024 Oil on linen 50 x 35 inches

The Dove, 2024
Oil on linen
50 x 35 inches

Blue Amanita, 2023 Oil on linen 50 x 36 inches

Blue Amanita, 2023
Oil on linen
50 x 36 inches

Theresa Daddezio Magma Moon, 2023 Oil on linen 50 x 35 inches

Magma Moon, 2023
Oil on linen
50 x 35 inches

Blue Cord, 2024, Oil on linen

Blue Cord, 2024

Oil on linen

50 x 35 inches

Lioness, 2024, Oil on linen

Lioness, 2024

Oil on linen

35 x 25 inches

Turkey Tail, 2023, Oil on linen

Turkey Tail, 2023

Oil on linen

18 x 12 inches

June 5th, 2023, Oil on linen

June 5th, 2023

Oil on linen

18 x 12 inches

Red Sky Morning, 2023, Oil on linen

Red Sky Morning, 2023

Oil on linen

18 x 12 inches

The Clearing, 2023, Oil on linen

The Clearing, 2023

Oil on linen

18 x 12 inches

Open, 2023, Oil on linen

Open, 2023

Oil on linen

18 x 12 inches

Magma Moon II, 2023, Oil on linen

Magma Moon II, 2023

Oil on linen

18 x 12 inches

Dawn, 2023, Oil on linen

Dawn, 2023

Oil on linen

18 x 12 inches

Press Release

DC Moore Gallery presents Theresa Daddezio: Bloom, fifteen paintings created in the course of the past two years.

Theresa Daddezio’s paintings shed light, revealing speculative fictions and near-futures where human and plant forms entwine. Deeply rooted in abstraction and color theory, Daddezio builds worlds through seemingly impossible collisions and harmonies of color. Neither wholly synthetic nor organic, hues of lush magnetas, furious green-golds, and silver-purples cross-pollinate. Her sense of color evokes both late 20th-century transcendental abstraction and Orphic lyricism, resonating with the work of Sonia Delaunay, Ferdinand Leger, Agnes Pelton, and František Kupka.

Petal-like structures bloom from intricate linear forms, suggesting the botanical rhizome. Daddezio paints these as channels for transporting light, color, and energy across the canvas. Patterns replicate, and loop back onto themselves, becoming body-like forms or strands of code. These systems are in constant flux, operating according to their own mysterious parameters of space and time. Daddezio’s varied brushwork creates shifts between layers, openings and recesses within the plane of the painting.

Her recent work is inspired by a sense of mystery and intimacy within 14th-century Madonna and Child paintings from St. Agnes Monastery in Prague. Daddezio examines the spatial hierarchies and compositions of Medieval paintings through a lens of the flattening and fragmentation of contemporary space, developing pictorial realms: ground/underworld, middle/earth, and top/celestial. Ribbons and cords create links within this hierarchy of space. Imagery emerges, shifts, and transforms into new symbolic structures of the biological, conjuring scientific and religious quests for meaning.

The Dove (2024) lifts imagery from Master from Großgmain’s Coronation of the Virgin Mary (1480–1490), compressing space-time to situate the symbolic dove amid Daddezio’s world of blooming forms: a drop of gothic naturalism seeping through the fabric of the present moment.

While evoking transcendental painting and Medieval cosmology, Daddezio’s landscapes are imbued with a sense of loss for our changing climate. As Andrew Woolbright writes, “The spiritual is her acknowledgment ‘that nothing ceases.’ It is a concept of spirit that is bound up in ecological dread and death, a kind of post-humanist spiritualism. … We have time to consider a plant that never was, may never be, that Daddezio keeps and preserves somewhere else. But just as easily, the intensity of our focus may remind us of our own garden, and of all the natural miracles they sustain, to maintain and care for in the here and now.”

The exhibition is accompanied by an illustrated catalogue with an essay by Andrew Woolbright. Daddezio also curated the group exhibition, Earthbound, which runs concurrently.

Theresa Daddezio lives and works in Brooklyn, NY. She received her MFA in Visual Art from Hunter College (2018). She participated in Brooklyn’s Sharpe Walentas Studio Program (2021-22) as well as the Wassaic Residency Project in upstate New York (2018). Daddezio has exhibited work at Nathalie Karg Gallery, Hesse Flatow, DC Moore Gallery, and New York Studio School (New York City); Transmitter Gallery (Brooklyn); Pentimenti Gallery (Philadelphia); the University of Hawaiʻi at Mānoa; and Studio Kura (Itoshima, Japan). Daddezio’s work was also featured in New American Paintings (2021).

For press inquiries, please contact Caroline Magavern at cmagavern@dcmooregallery.com

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