Selected Artworks 2009-2015

Extreme Surfaces and Terrains, 2015-ongoing. Google Cardboard virtual reality sculptures.

Extreme Surfaces and Terrains is a series of virtual reality video sculptures integrating Google Cardboard, Plexiglas, and 360° abstract/geometric animations in continuous transformation. These works deconstruct and reshape extreme, minimalist surfaces and wireframe terrains, blurring the boundaries between physical and digital space inviting the auìdience to look under the surface for discovering the digital part of the sculpture made of three-dimensional spatial extensions, where geometric structures appear both rigid and fluid, icy and impersonal, yet immersive and dynamic. Exploring surface and structure as a living interface, Extreme Surfaces and Terrains invite the audience to engage through the 3D viewers, transcending physical boundaries and entering a virtual space where Cartesian coordinates are completely overturned.
The artwork has been exhibited at MAXXI museum Roma 2018.

Inside geometry double language, 2015-ongoing. Virtual reality and site-specific video installations.

Inside the Geometry Double Language is a virtual reality project that takes shape as a series of site-specific video installations, integrating Google Cardboard headsets and smartphones playing VR animations. The 3D viewers are arranged in the exhibition space to form geometric compositions, creating a visual dialogue between physical and digital environments.
This project challenges the traditional use of VR and the viewer's spatial perception. Unlike conventional VR experiences, I manipulate the camera's field of view, restricting it to 180°, 220°, or 310°, forcing the audience to peek through real space into fragmented, immersive environments. These spaces - partially open or enclosed - consist of wired geometric angles and futuristic landscapes, encouraging spectators to explore beyond physical architecture.
Inside each headset, viewers embark on a journey beyond the wall, where each geometric figure deconstructs an animation into separate segments, corresponding to the number of VR devices. The immersive animations, generated through geometric language and unpredictable variations, distort traditional Cartesian coordinates, creating a fluid, shifting reality. Google Cardboard serves as both a medium and a conceptual tool, questioning the relationship between space, architecture, and perception. Inside the Geometry Double Language transforms architecture into a living, participatory space, highlighting the paradox of modern space-time as fluid, fragmented, and oscillating between the physical and the digital. Spectators become both blind and ultra-seeing, navigating the dual language of geometry and its perceptual distortions.

Abstract watch, 2015. Series of 3D abstract animations for Apple Watch.

A series of abstract animations emerging from the Fourth Dimension Banner project.

Postcards From Beyond, From Elsewhere, 2015. Series of interactive widgets.

Postcards from Beyond, From Elsewhere is a series of interactive widgets designed to exist in a liminal space - between the desktop interface and the dashboard - between the Internet and the post-Internet era. These widgets act as a conjunction between medium and message, blurring the boundary between digital systems and user interaction. Serving as a metaphor for a new, imaginary, and interactive media, these mystic widgets mediate impossible desires between machines and audiences.
The artwork has been exhibited at Somethingelse - Off Biennale Cairo 2015.

Object Oriented Icons, 2015. Software-artwork generating interactive objects.

Defragmentation is intrinsic to both our digital infrastructure and our daily experience of space and time. Object-Oriented Icons transforms the familiar desktop interface into a dynamic, interactive environment where icons become portals to hidden, animated objects. When clicked, these icons reveal fragmented file-objects, triggering animated messages, pop-ups, live 3D elements, and evolving visuals. This process challenges the conventional virtual/physical boundary, turning the interface into a live software system, a network of interwoven sub-spaces, each animated and responsive. By reimagining the desktop as a living, breathing entity, Object-Oriented Icons highlights how the interface itself is evolving into a philosophical object, redefining our interaction with digital spaces in everyday life.

From the Live Architectures Series: Hidden Forces, Geometric Breakpoints, and Dimensioning, 2015. Augmented reality video installation featuring 15 fresco points, each overlaid with 15 interactive AR 3D animations.

The augmented reality video-sculpture series including Hidden Forces, Geometric Breakpoints, and Dimensioning, originates from The Fourth Dimension Banner (2012), a net-artwork and a collection of animations that, when projected onto a tangible wall (or multiple walls), create a trompe l'œil effect, transforming the architectural surface into a liminal space, a multidimensional extension that invites reflection on the nature of the architectural interface. Inspired by the abstract forms generated through the deconstruction of The Fourth Dimension Banner, I expanded the concept into a series of unique geometric breakpoints. These breakpoints, marked on physical walls and activated via augmented reality, serve as matrices triggering the emergence of video sculptures from the unseen, liminal side of the wall. Through AR, the audience can interact with these dynamic, hidden layers of digital space, revealing an evolving interplay between physical and virtual dimensions.
The artwork has been exhibited at Furtherfield Gallery, London 2016.

video sneak-peek 1 - video sneak-peek 2 - video sneak-peek 3

Ways of Something - Episode 4. Animation 1', 2015.

Ways of Something is a contemporary reinterpretation of John Berger's iconic BBC documentary Ways of Seeing (1972). Commissioned by The One Minutes at the Sandberg Instituut in Amsterdam and curated by Lorna Mills, the project consists of four episodes, each composed of one-minute videos by leading digital artists. Featuring works that explore 3D rendering, GIFs, film remixing, webcam performances, and website-based art, the series reflects the chaotic, fragmented nature of art-making in the post-internet era.
The four episodes are part of the Whitney Museum collection.

From the series Live Architectures: Hidden forces, 2015. Immersive video installation.

Hidden Forces is an interactive video installation designed for a cave-like space, fully surrounding the viewer. Using camera tracking technology, the installation reacts to the spectator's movements, dynamically redesigning the environment with shifting patterns. This immersive, multi-dimensional space is shaped by mysterious anti-physical forces, altering the viewer's perception of architecture in real time. As geometry and scale continuously transform, the space defies structure, creating an anti-architectural environment that challenges conventional spatial logic.
Hidden Forces functions as a mathematical space, subtly guiding audience interactions in ways that disrupt rational perception, pushing them toward an intuitive, unpredictable experience.

From the series Live Architectures: Yellow film, 2015. Virtual reality immersive experience.

The Yellow Film is an immersive experience where a sun slowly descends over a beach, expanding until it engulfs the viewer in a shifting, immersive field of yellow. As the seascape fades, the audience is enveloped in a three-dimensional space of constantly fluctuating yellow gradients. A luminous, uneven line resembling a mystical equatorial belt, emerges, undulating like an audio spectrum before morphing into a tightening beam of light. As the sun mutates, darkens, and remixes its color, the scene transforms its glow deepening into orange, then dissolving into surreal, randomly generated emoticon gestures. Nature is reduced to pure symbolism, culminating in an ornate, dazzling spectacle that immerses the viewer in an ambiguous state, somewhere between a spiritual vision and a surreal bath of light.

From the series Live Architectures: Intuition gradient, 2014. Virtual reality immersive experience.

Intuition Gradient is a Virtual Reality full-dome experience that transforms space into a fluid, intuitive realm, free from conventional perspectives or physical constraints. Here, the orbicular environment is conceived as the pure shape of perception itself. By simply wearing a VR headset and moving freely, participants paint the empty space with gradients of color, shaping an ever-evolving, psychedelic, and contemplative atmosphere. Layers of shifting hues create an immersive, meditative experience, where color and movement become the architecture. Intuition Gradient explores the extension of perception beyond corporeal limits, constructing a boundless, dynamic space that responds to intuition rather than physicality, expanding the way we experience and interact with digital environments.

Eraser Sculptures, 2013-2015. Augmented Reality installation composed by a series of forty diverse rubber-sculptures. Various colors and dimensions. 3-D printing.

Video sneak-peak.
The Eraser-Sculptures series was born like an extension of my animation The Fourth Dimension Banner, originally exhibited in an online banner-gallery. From the animation, I developed a series of forty unique sculptures derived from its deconstructed forms. Made from erasing rubber, these sculptures challenge the traditional perception of sculpture as a permanent, solid medium. Instead, they embody ephemerality, capable of being modified, worn away, or even erased entirely. Each sculpture is designed with various color combinations, such as bicolor, tricolor, and mixed hues and can be wall-mounted using transparent Plexiglas supports. Installed alongside The Fourth Dimension Banner animation, they create an interplay between digital permanence and physical impermanence, redefining the boundaries of both sculpture and animation.

And One Day, Boom: The Augmented Reality Pavilion of Exploded Reality! The Wrong Biennale, São Paulo. November 1 2013 - January 30 2014.

The Pavilion I curated for The Wrong Biennial São Paulo, explores the concept of impossible architecture, drawing inspiration from a new wave of digital architecturalist shaped by web culture and emerging intellectual communities. Featuring ten digital artworks including sculptures, installations, images, and videos, this exhibition is entirely experienced through Augmented Reality. The artworks, created by students from Rome's Academy of Fine Arts, delve into themes such as remix, détournement, digital surrealism, glitch-art, appearance, dreams, sleep/awake states, journeys, and unreality. Their placement within the Pavilion generates unexpected shifts in perception and meaning, by reshaping reality to create an illusory, dreamlike atmosphere.

From Live Architectures: Extemporary Land Art on Google Earth, 2013-2017.

Live Architectures is a series of digital and interactive artworks designed to reshape physical and digital environments, transforming them into dynamic, living spaces. Extemporary Land Art on Google Earth extends into Google Earth browser, where site-specific augmented reality interventions create extemporary-temporary virtual land art. By layering digital elements onto the existing landscape, the work generates a mise en abyme or Droste effect, where one space seamlessly folds into another, merging Google Earth's virtual terrain with augmented structures. The result is a constantly shifting, immersive architectural experience, redefining both perception and place.
The artwork has been exhibited at the Vancouver Art Gallery during the show Disruption curated by ISEA. 2015.

To watch a video sneak-peak of the ten AR artworks and read the synopsis, download the PDF with links.

The Naïf Garden, 2013. Interactive Video Mapping Projection.

Video sneak-peak.
The Naïf Garden is an immersive, interactive video mapping art-installation designed specifically for gardens and forests. Created using Quartz Composer, After Effects, and MadMapper, it transforms natural landscapes into a virtual, nocturnal spectacle - an ever-evolving Live Painting - where the audience becomes an integral part of the creative process. In fact, the artwork responds to the voices of spectators and dynamically reshapes itself with digital patterns generated by a particle system I created. using and manipulating visuals resemble cellular structures, viruses, multicellular organisms, and molecular forms, blending digital and organic worlds. Part of my Live Architecture series, The Naïf Garden redefines space, turning public and natural environments into vibrant, responsive landscapes. By engaging with the installation, visitors embark on an emotional and sensory journey, where their choices continuously shape and redefine the artwork's living layers.

Hemispheric is Watching You, 2012. Interactive architectural-mapping project.

Video sneak-peak.
Hemispheric is Watching You is a project for an interactive video-mapping projection exploring themes of surveillance. Originally designed for El Hemisfèric museum in Valencia, the artwork can be adapted to other particular architectural shapes. Using a camera-tracking system in situ, the eye-projection captures spectators' movements in real time, translating them into x, y, and z coordinates. The real architecture becomes a robotic eye that follows audience actions across 360° space, dynamically shifting its gaze, iris, and eyelid colors in response. As viewers move freely before the façade, they experience a role reversal by transforming from passive observers into the observed, caught within an ever-shifting cycle of control and interaction.

Trigonometric Building, 2012. Interactive architectural-mapping project.

Video sneak-peek.
Trigonometric Building born as a demo for an interactive projection mapping, originally designed for the New Museum façade in New York but adaptable to other architectural structures. In its interactive version, spectators can manipulate the building's geometry in real time using an App made ad hoc.
Through the App, users transform the structure by altering its parallelepipeds, reshape corners and faces into triangular forms. This interactive process leads to a dynamic deconstruction of the architecture, shifting between minimal, primordial geometric shapes and intricate, ever-evolving configurations. As the structure continuously transforms, viewers experience a virtual augmented exploration of space and time, redefining their perception of architectural form.
The artwork was selected from Adaptation prize 2017, in the SMART CITIES category.

The Fourth Dimension Banner sculptures and wall-drawings, 2012-ongoing.

Fourth Dimension Banner is also a series of sculptures and wall-drawings set to materialize in 2015 as marble sculptures, abstract animations, and interactive wall drawings enhanced by augmented reality and artificial intelligence.

From Live Architectures: The Fourth Dimension Banner, 2012. Net-artwork exhibited at Arshake.com online space in 2013.

Video sneak-peek
Fourth Dimension Banner is a site-specific digital artwork conceived in 2012 and launched in 2013 for the Arshake internet banner, continuing of Live Architectures series, an ongoing exploration of digital and interactive installations that reimagine architecture as a living, dynamic entity. Rooted in the concept of Liquid Architecture, as envisioned by Marcos Novak in the 1990s, the project embodies a metamorphic structure, shaped by fluid, fluctuating relationships between abstract elements.
The artwork penetrates the liminal space of the interface, a technological skin that, like natural skin, has evolved beyond a simple boundary between inner and outer worlds. No longer confined to the psyche, the virtual imaginary now emerges from the external, the above, and the within. Fourth Dimension Banner invites viewers on a journey where reality and the digital dissolve into one another, opening portals between worlds. Here, synthetic forms transform into design, structure, and architecture, blurring the threshold between the tangible and the virtual now inseparable. The interface reveals itself as a seamless, functional space, free of residue and noise, guiding us toward a deeper, immersive experience of digital architecture.

Talking in Strings, 2011. Interactive and generative video installation.Time variable.

Video sneak-peak.
Talking in Strings is a generative video installation inspired by the Rotor, a famous Luna Park spinning ride. Designed for a cylindrical immersive space, it surrounds the audience with text-based visuals that they generate in real time by sending messages via Twitter. Even remote participants can contribute, shaping the experience from anywhere in the world.
Incoming tweets trigger a live feed system, instantly displaying texts that rotate rapidly around the space, changing direction, color, and font. Some words float weightlessly, while others dissolve into dynamic, swirling strings, gradually becoming unreadable. These luminous trails envelop the audience like comet-like streaks or Newton's disk in motion, transforming language into an immersive, ephemeral experience.
The artwork gets the 1st prize at the festival Digitalia, Szczecin 2015.

Tales From Space, 2011. Generative video installation based on the theory of the Quantum Mechanics. Time variable.

Tales from Space is a generative video installation that unfolds within hollow spaces, beneath domes, or in any immersive environment. Real-time projections, created via node-based software, envelop the audience while they listen to short, custom-written sentences exploring concepts from physics like, super-space, gravitation, force, metaphysics, string theory, and the micro-macro continuum.
The spoken words trigger a cascade of dynamic visuals: black holes, micro-flash dimensions, and expanding macro shapes of colored light that intersect, envelop, double back, contract, and expand. Rooted in the principles of quantum mechanics, Tales from Space constantly evolves, driven by the modulation of its sound-narrative, making each experience unique and unpredictable.
Tales From Space has been exhibited worldwide, including Morphos show at Vortex Dome, Los Angeles 2014.

From the series Live Architectures: Augmented Irreality, 2010. Interactive AR video installation, time variabile.

Augmented Irreality is an interactive video installation projected onto three walls and the floor, immersing viewers in a simulated 3D environment. Built using Quartz Composer and ARToolKit, the artwork places spectators within the window-camera of the software, allowing them to manipulate digital objects and furniture in real-time. By using hand-sized printed matrices, they can move, zoom, remove, and interact with 3D forms along the X, Y, and Z axes, continuously shaping a virtual flat under construction.
Part of my Live Architecture series, Augmented Irreality embodies the concept of a Super Place, a self-performing space that extends beyond its physical limits. The installation challenges perceptions of the real and the unreal, revealing the paradox of augmented reality: by modifying and layering virtual elements over the physical world, it ultimately increases irreality rather than enhancing reality.

Live Sculpture, 2011. Interactive and generative video-sculpture acting like a mirror, time variable.

Video seank-peak.
Live Sculpture is an interactive, performative video-sculpture that acts as a responsive mirror, fully engaging the viewer's body. When standing in front of it, the spectator is scanned and filmed in real time by a webcam hidden behind the frame. Their image is then transformed into a life-sized, three-dimensional marble-like projection - an ever-shifting digital sculpture that reacts to body movements, ambient light, and speed.
My artistic research has long explored the fluidity of liquid space, and here, it unfolds through the audience's own presence, reshaping the human condition into something vibrant and alive. Instead of reflecting an idealized self, this mirror distorts, revealing monstrous, surreal versions of the viewer, bringing forth the hidden depths of the psyche. Watching themselves in this altered state becomes a journey where synthetic forms dissolve into structure, illusion, and design.
Closely tied to the aesthetics and tensions of new technologies, Live Sculpture merges the visceral with the mind-expanding. Though a digital piece, it remains unique - never the same twice - since it is continuously reshaped by the subjectivity of each viewer. By restoring the aura of digital art, it redefines the idea of the multiple, proving that even in a reproducible medium, every experience remains singular.
The artwork has been exhibited and presented worldwide, including ISEA, EVA London, Computer Art Congress.

The Virtual Prigione, 2010-2011. Interactive web-browser (flash) artwork and IOS App.

The Virtual Prigione born as an interactive web-based portrait-video-sculpture inspired by Michelangelo's unfinished Prigioni series. Hosted on a dynamic, interactive website, the artwork allows users to sculpt digitally, using the mouse as a virtual chisel. The Virtual Prigione ended up to be an IOS App where the audience can sculpt my body directly using fingers.
The experience explores different states of being: users can choose to liberate the figure from the marble, allowing the body-statue to sublimate into a pure virtual idea. Alternatively, they can imprison it once more, returning it to its primordial state - an unshaped geometric mass. The Virtual Prigione reinterprets classical sculpture in a digital medium, where creation and erasure become part of an interactive dialogue.
The artwork has been exhibited at FILE - Electronic Language International Festival, São Paulo, 2011.

From the series Live Architectures: Meta Motus, 2010.Interactive mixed reality video installation, time variable

Video sneak-peek.
Meta Motus is an interactive video installation from my Live Architecture series, where I challenge the static nature of architecture by transforming it into a responsive, living entity. Part of my concept of Super Places - the digital spaces that immerse audiences in mediated realities - this installation deconstructs and reshapes extreme and minimalist surfaces, creating a continuously evolving environment. The installation reacts to spectators' movements via camera tracking, dynamically altering its geometric patterns based on real-time inputs, including ambient light and spatial positioning. By translating audience actions into x, y, and z coordinates through node-based software, Meta Motus generates a participatory space where the virtual and physical worlds oscillate, redefining architecture as a vibrant, interactive experience.

Charting Arts Thoughts, 2010. Net based artwork.

Charting Art's Thoughts is a dynamic, spontaneous network of ideas, mapping thoughts on digital art as if they had landed from Hyperuranium onto a virtual landscape. Using Twitter posts that match a curated database of art-related keywords and tags, the system generates concise (140-character) reflections on art at diverse locations. With each page reload, the world map refreshes, tracking and displaying new phrases in real time. Inspired by ideasonair's theory that ideas are in the air, and as the earth spins, they connect with different places simultaneously, this art-project visualizes the collective consciousness of new media art, where identical thoughts might emerge in New York and Rome at the same moment.
The artwork has been exhibited at Museo Della Civiltà Romana, 2010.

Speaking at the Wall, 2009. Google Earth Sculpture, Anchorage.

Inspired by my interactive video installation Speaking at the Wall, I created a digital sculpture as a virtual dimension embedded within Anchorage. More than a static object, this piece exists as an immersive space that viewers can explore, navigating in and around it as they dive into its shifting virtual form.

From the series Live Architectures: Over the Limbo, 2009. Interactive video installation merging Second Life virtual space and tangible situ

Video sneak-peek.
Over the Limbo is an interactive video installation that blurs the boundaries between the virtual and real worlds by merging Second Life with physical space. Transforming the environment into a limbo-like state, the installation challenges the viewer's social identity as they share time and space with avatars outside the virtual realm. This piece creates a seamless extension of time and space, where landscapes overlap, and users interact with digital counterparts. The universe and meta-verse exist on the edge of a surreal, real-scale dimension. Designed using After Effects and Quartz Composer, the installation imports real-time Second Life scenarios while a greenscreen webcam captures spectators, projecting them into the virtual world. Through layered effects, Over the Limbo dissolves distinctions between digital and physical reality.
The artwork has been exhibited at Envisioning Digital Spaces. Guimarães 2010.