Stephen D’Onofrio’s flowers and fruit may be painted and printed at a range of blossom and ripening. Leaves of a plant can appear full and lilting. Perspective and depth are impacted for the purpose of education; such is the nature of illustration. The masters that inspire D’Onofrio’s practice would have completed their illustrations as large research projects, sometimes commissioned by viceroys, scientists and wealthy courtesans. These images, requiring expertise and fiduciary investment, have been so stable that they have matriculated over the eons into the pedestrian realm of surface design, as D’Onofrio calls it.

D’Onofrio’s printed works have been a staple of his practice since 2019, incorporating the mass production elements of his paintings in a style unique to printed material. These latest editioned prints are the largest run the artist has made thus far, spanning 50 editions. These two works are in a similar style of his 2022 exhibition, The Arborist, yet also differ in the pop-culture allusions, scale, and design. D’Onofrio’s fruit trees have been massively popular in painted form, and are now available for the first time in a printed medium.

Stephen D’Onofrio began experimenting recently with printed canvas - highlighting those aspects made prevalent in 80s and 90s pop art, and present within D’Onofrio‘s oeuvre. With this new line of printed pigmented ink and hand-painted acrylic detail on canvas, he highlights the aspects of mass-productions, kitsch, and art historical reference, while preserving the artists hand.

These works vary somewhat between the 5 editions, due to the hand painted detailing of each piece.