Large mural works on canvas have been displayed in the Saatchi Gallery in London, Locust Projects in Miami, Salon 94 Bowery in NYC and the Institute of Contemporary Art, Boston.
In recent solo shows (2014-8) in New York City and London she has introduced ceramic sculpture that aspires to the monumental via a feminine strength and whimsy.
DiMattio fractures and reconfigures a wide array of references including art history, children’s books, cartoons, pop culture, and craft.
Her totems reference Greek Caryatids carried into a present rethinking of the weight women bear today.A large monstrous 9-foot tall piece, She-Wolf (2018), evokes Yeats’, The Second Coming with its ending …” And what rough beast, its hour come round at last, Slouches towards Bethlehem to be born?” [citation needed] The Caryatid works “exemplify this penchant for hybridity, each one encapsulating several oppositions between masculine and feminine, playful and serious, contemporary and ancient, high culture and low”(Fullerton).
Drawing inspiration from the ICA’s dramatic architecture and waterfront setting, Banquet combines interior and exterior space and incorporates images of ships and the sea.
[5][6] In 2015, DiMattio designed a sculpture, Chandelobra, reflected her understanding of overturning the stereotyped image of chandelier that are related to feminine and deconstructing them into a unpredictable, explosive, and unfamiliar object (https://salon94.com/exhibitions/domestic-sculpture/).
Although some people consider DiMattio’s artwork as deviant, her use of bold styles, glazes and design made audiences think outside of the box and ponder over the traditional way of beauty.