Anna Mays (b. 1998) is a visual artist from Dublin, currently based in London, where she is completing an MA in Print at the Royal College of Art. She graduated from the University of Brighton with a BA in Fine Art Printmaking in 2020. With a background rooted in printmaking, Mays works with traditional print processes in unconventional ways to create works that sit on the boundary between print, sculpture and installation.
The human body is central to Mays’ practice. She works from an archive of personal scans, including CT and MRI scans. She re-materialises these into physically printed works to consider how we occupy our bodies and space. Mays is interested in the relationship between the flat and the three-dimensional; how this corresponds to the language of print, where images are flattened and pressed.
Her work questions how organic forms transform through analytical technologies, reflecting on the ways we see, measure and understand our bodies in contemporary life. She deconstructs, reconstructs and multiplies the body, fragmented into parts and reassembled through the use of magnets, incisions and interlocking structures. This creates a tension with the organic nature of the body, transformed into something modular and mechanical.
Anna Mays (b. 1998) is a visual artist from Dublin, currently based in London, where she is completing an MA in Print at the Royal College of Art. She graduated from the University of Brighton with a BA in Fine Art Printmaking in 2020. With a background rooted in printmaking, Mays works with traditional print processes in unconventional ways to create works that sit on the boundary between print, sculpture and installation.
The human body is central to Mays’ practice. She works from an archive of personal scans, including CT and MRI scans. She re-materialises these into physically printed works to consider how we occupy our bodies and space. Mays is interested in the relationship between the flat and the three-dimensional; how this corresponds to the language of print, where images are flattened and pressed.
Her work questions how organic forms transform through analytical technologies, reflecting on the ways we see, measure and understand our bodies in contemporary life. She deconstructs, reconstructs and multiplies the body, fragmented into parts and reassembled through the use of magnets, incisions and interlocking structures. This creates a tension with the organic nature of the body, transformed into something modular and mechanical.
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