Selected Artworks 1997-2008

From the series Live Architectures: Landspace. Interactive video installation, 2008.

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Landspace offers a dynamic glimpse into a virtual realm defined by motion. Layered currents inspired by extreme terrains ebb and flow, continuously reshaping the installation internal atmosphere in harmony with an isolationist visual and musical counterpart. Embracing the idea of our digital era's second nature, it presents an artificial natura naturans - a vast, ever-changing expanse. As a form of interactive Land-Art designed for open spaces, Landspace reimagines essential architectural and environmental themes in a synthetic realm.

From the series Live Architectures: Speaking at the Wall, 2008. Interactive video installation.

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Speaking at the Wall is part of my Live Architecture series, which transforms public and interior spaces into interactive, ever-evolving experiences. In this installation, a viewer' s voice is captured via microphone and processed live through Quartz Composer, merging sound with dynamic visuals.
Displayed on two walls and the floor, three screens aligned with the Cartesian axes converge into a central, illusory perspective. As visitors speak, their voice alters the environment modifying volume and spectrum to create an abstract, shifting grid reminiscent of a 3D software world. This continuous transformation creates an unfinished space that challenges conventional notions of place, inviting participants into a digital-where that expands our perception beyond the limits.
The artwork has been exhibited at Electrofringe digital art festival, Newcastle Australia 2008.

Replicating Architecture. Interactive and participative video-mapping project, 2008.

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Replicating Architecture is a site-specific interactive video installation that transforms urban structures through net art. Using an RSS Downloader patch in Quartz Composer, I converted live feeds (like those from Rhizome.org) into a dynamic, DNA-like texture-composed of aggregated lines controlled by phases, amplitudes, lighting, colors, and rotations. Projected onto a vertical tower or obelisk, these ever-shifting lines interact and fade, reshaping the architecture into a fluid, evolving abstract form.

From the series Live Architectures: Optical Rendering, 2006. Interactive video and CAVE.

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Optical Rendering, like Rendering Space, is an environment of perpetual regeneration and an interactive video installation that never reaches completion. The walls continuously display a rendering process that refuses to crystallize into any grid.

From the series Live Architectures: Rendering Space, 2006. Interactive video installation and CAVE.

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Rendering Space is an environment of perpetual regeneration and an interactive video installation that never reaches completion. The walls continuously display a rendering process that refuses to crystallize into a definitive form.
Within the four uniform walls, visitors experience the sensation of being immersed in a live rendering program, one designed to remain forever unfinished. As spectators approach, the process accelerates, responding to the rhythm of their presence. This responsive architecture feeds off human pulsations, enhancing the visualization of an environment that exists more as an evolving idea than a fixed physical space..

Sit-In into a Super Place, 2006. site specific action in a browser, 2006.

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There is no set theory or process behind this phenomenon, no one can explain why we become enveloped by this unique atmosphere.

Art Calling Digital Art Sstories on PodCast, Audio-Guide and from Monuments, 2006.

     

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From Left:
- Art Calling Digital Art Stories is available as downloadable MP3 files and podcasts, so you can enjoy these narratives on the go, whether you're walking, dining, or simply relaxing.
- At its core, it serves as an audio guide for a conceptual exhibition space, allowing audiences to effortlessly select and listen to a diverse range of digital art stories.
- The project even transforms monuments into storytellers, featuring Bernini's Baroque statues in Piazza Navona that speak about contemporary electronic art practices.

Art Calling Digital Art Sstories 2005, public-digital-art project.

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Art Calling Digital Stories is a public art project I designed during the residency at Meialab Madrid (Conde Duque y Telefonica) to make digital art accessible to passebys. The project transformes public phone booths into interactive gateways: visitors dial a number displayed on a sticker to access a switchboard featuring multiple vocal options and a rich library of digital art audio narratives.
These stories, which I personally selected and wrote, explore the evolution of digital art, from interactive and software art to modified video games, demo scenes, hacking tools, digital animation, video installations, sound art, mobile art, new media performance, hyper design, interactive architecture, artificial life, blogging, and beyond. Each audio file is enriched with supplementary resources such as bibliographies, webliographies, artist profiles, project details, festival information, mailing lists, and forums, offering a comprehensive insight into the digital art world.

Ideasonair - Blogging as an Open Art Project. Net-artwork, 2005-2012.

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From the series Live Architectures: The New Medium's Order is to Shift, 2004. Video installation and CAVE, 10'+ frames-book. Soundtrack by Fulvio Colasanto.

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In this artwork - a video installation within its interactive book - the viewer is invited through a window into a computer-generated sea, with four walls projecting a continually evolving work in progress. Surrounded by this fluid display, one experiences an interrupted, anticipatory sensation as subtle shifts hint at ongoing transformation.
Complementing the installation, the interactive book unfolds the animation frame by frame. By selecting a frame rate (15, 25, or 30 frames per second), the viewer effectively turns the pages of a digital narrative reinterpreted in print, transforming traditional DVD media into a tactile, dynamic experience. This dual approach subverts conventional boundaries by merging subject with object, content with container, and form with concept while exploring the interplay between mechanical precision and physical interactivity.

From the series Live Architectures: The Origin of Imagination, 2004. Video installation, 3'16''. Soundtrack Styltriady by Fulvio Colasanto.

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The Origin of Imagination is a video installation that unfolds across two walls and the floor, creating an immersive, multi-dimensional experience. Three screens, aligned with the Cartesian axes, converge into a unified central perspective. In this illusory realm, infinite lines - suggestive of emptiness and distance - interact and fade into one another, forming essential structures that hint at an incomplete "original project." The artwork serves as a virtual extension of space, reflecting both our real existence and our immersion in the boundless "everything." It evokes a fragmented environment that paradoxically guides us toward freedom. With its ever-shifting virtual opening, no specific direction is privileged, but all paths are equally possible. In essence, The Origin of Imagination reveals space as the pure embodiment of intuition.
The artwork has been exhibited at MAK – Museum für angewandte Kunst, Vienna 2007.

Exten(z)sion project IV, 2003. Animation and CAVE, 3'. Soundtrack: by Fulvio Colasanto.

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In my video installation, virtual room extensions are projected onto the walls, offering a dynamic array of views that shift with the visitor's movements. Objects glide and windows open, ultimately revealing a door that leads to the raw coordinates of an abstract, grey data space. The animation consistently centers the viewer within these spatial structures, with virtual coordinates radiating outward to create an immersive experience.

Exten(z)sion project III, 2003. Animation and CAVE, 4'. Soundtrack: Orbiting by Fulvio Colasanto.

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In my video installation, virtual room extensions are projected onto the walls, offering a dynamic array of views that shift with the visitor's movements. Objects glide and windows open, ultimately revealing a door that leads to the raw coordinates of an abstract, grey data space. The animation consistently centers the viewer within these spatial structures, with virtual coordinates radiating outward to create an immersive experience.

Exten(z)sion project II, 2003. Animation and CAVE, 4'. Entrixto by Fulvio Colasanto.

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In my video installation, virtual room extensions are projected onto the walls, offering a dynamic array of views that shift with the visitor's movements. Objects glide and windows open, ultimately revealing a door that leads to the raw coordinates of an abstract, grey data space. The animation consistently centers the viewer within these spatial structures, with virtual coordinates radiating outward to create an immersive experience.

Exten(z)sion project I, 2002. Video installation and CAVE, 5'40''.Soundtrack: Untitled by Fulvio Colasanto.

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Exten(z)sion Project is part of my Live Architectures series of immersive video installations. The work unfolds on four walls, reconstructing a house's interior as a dynamic, virtual extension of architectural space. Like an animated trompe l’oeil along the Z-axis, the moving environments guide the viewer through an unfinished space where familiar rooms reveal unexpected digital textures and transitions. In the end, A study-room window showcases the intricate reticulum of 3D software, and a door opening onto a desolate virtual landscape.
At its core, "Exten(z)sion Project" is a performance-based exploration that challenges the notion of space itself. It invites spectators to navigate a super-place, a realm that transcends functionality, merging the real with the digital in a continuously shifting dialogue of new dimensions.
The artwork has been exhibited at XIV Quadriennale. Palazzo Reale, Napoli 2003.

Calling a Conversation in Universe, 2002. Animation and CAVE installation, 3'. Soundtrack: Essential contact by Fulvio Colasanto.

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Watching Calling a Conversation in the Universe, is possible to observe camera lenses - tools that normally serve to mediate information (and often distort the truth) - come to life with a virtual presence of their own. Decontextualized from their traditional roles, these lenses merge seamlessly with one another, isolated against a neutral background and animated in continuously evolving variations that border on abstraction and explore the very essence of image composition. Drawn to each other, they gaze inquisitively, flirt, and form intimate pairings to the rhythm of electronic music. In short, it captures the everyday clash between the real and the virtual.
The artwork has been exhibited at the 11 Biennale of Young Artists of Europe and the Mediterranean Countries "Cosmos – A Sea of Art". Athens 2003.

The Yellow Film, 2001. Interactive abstract film (made in flash). Time variable.

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This is a fully conceptual Yellow Film made of four projections randomly cast onto the walls of a modest room. The animations, built from 817 distinct shades of yellow and set to the rhythm of electronic music, create an entirely optical vision, an extraordinary interplay of light and atmosphere that borders on the surreal.

Super Place Project, 2001-2002 (holographic screening). Animation, 1'. Soundtrack Untitled by Fulvio Colasanto.

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Within a single minute, the hologram is traversed by two circular inscriptions, one proclaiming "Poor man's wealth lies in the holy place". In an instant, these writings transform into a three-dimensional realm where nine luminous buildings arrange themselves in a perfect circle. This formation creates a Super Place in which every structure is equidistant from the center, echoing the egalitarian design of ancient Greek cities. The installation invites spectators to navigate this radiant domain, a space that cannot be owned because it is composed entirely of pure light.
The artwork has been exhibited at the net-art show Net In Space. MAXXI museum, Roma 2006.

Pipeline Project, 2000. Interactive sculpture-architecture for the web (made in flash) time variable.

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Pipeline is my interactive project a reimagined interior of a cylindrical house sculpted through the manipulation of a rocket you've seen in Time Bomb The Love. The structure spans four floors, deliberately stripped of interactive memories. I challenge the conventional notion of absolute property by conceiving the house as a mental space, a kind of Super Place. Only when you explore it do you begin to perceive the recurring patterns woven throughout each level.
The artwork has been exhibited at the 1st Bienal de Valencia: El Mundo Nuevo. Convento del Carmen, Valencia 2001.

The Perfect House Project. Interactive sculpture and animation, 1999-2000. Soundtrack Untitled by Fulvio Colasanto.

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Video sneak-peek.
Time Bomb The Love turned into a minimalist penetrable video architecture, alongside diverse ceramic sculptures prototypes.

Time Bomb The Love! Animation 5', 1998.

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Video sneak-peek.
In this animation, I digitally manipulate rockets in sync with pulsating techno beats. Frame by frame, I transform these missiles into vivid, acid-infused architectural forms, what I call Compression Containers. Through deliberate vertical and horizontal movements, they dissolve into lines and points, only to reassemble as defused bombs reimagined as dynamic structures. I call it Time Bomb the Love, or more fittingly, it's time for love to explode!
The artwork has been exhibited at the 48 Biennale di Venezia, at Italian Pavilion with Oreste Cinema group.

Spider's Web. 3D animation, 3’40”, 1st version 1997.

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In this wire-frame 3D animation, I depict vibrant cupolas unfurling within intricately woven, colorful spider webs. As these forms gently close, they transform into dynamic architectural structure, a creative graft that fuses the shape of a pagoda with the airy, delicate essence of a meringue. This synthesis, which I call "Pagodas-Meringue House", challenges conventional ideas of form and space.