Nancy Mauro-Flude is an artistic researcher and digital caretaker driven by the demystification of technology and the ‘mystification’ that lies in and through the visceral performance of the machinic assemblage. She explores the sustainable affordances of socio-technical design through cooperative methods. She advances a broader understanding of the relationships between digital literacy and cultural heritage by radically intervening in public space through the aesthetic application of networking infrastructure in live performance installation.
 
Mauro-Flude’s successes and competencies for dynamic and engaged innovation in art practice are elucidated by art historian Neil Howe (2017), who states: “The Next Wave…the digital multimedia artist was born, and some performance artists like Stelarc, VNS Matrix and Nancy Mauro-Flude were quick to embrace the new technology…” in Parallel Realities: The Development of Performance Art in Australia (London: Thames & Hudson 2017):109.  Her proficiency as a cultural leader who nurtures a community of art practitioners, shaping the discipline and future of Art is substantiated in Real Life: Mapping digital cultural engagement in the first decades of the 21st century (2021),a significant international impact report by the Australia Council for the Arts (OzCo). The national feature used Mauro-Fludes two-decade trajectory of contributions, including artwork on its cover page as an exemplar referring to her performance installation Beyond the Hall of Marvels (2016) a performance installation commissioned by Contemporary Art Tasmania (CAT) for 'exhaust’, a group exhibition featuring 13 artists of repute, curated by New York-based Erin Marie Sickler, presented by MONA FOMA one of Australia’s most prominent international summer art festivals.
Nancy Mauro-Flude has worked in cross-cultural contexts for two decades across five continents: Australia, Singapore, Indonesia, Netherlands, Romania, Austria, Norway, Germany, South America, North America, and Haiti.