Selected Artworks 2016-2026

Casting Reality: Returns Undefined. Solo show at Muratcentoventidue gallery, Bari 2025.

Casting Reality Casting Reality Casting Reality Casting Reality Casting Reality Casting Reality Casting Reality Casting Reality Casting Reality Casting Reality Casting Reality Casting Reality Casting Reality Casting Reality Casting Reality Casting Reality Casting Reality Casting Reality Casting Reality

Muratcentoventidue Artecontemporanea is pleased to present Casting Reality: Returns Undefined, a solo exhibition by Chiara Passa. Among the pioneers in Italy in the use of digital media as a tool for artistic creation, Passa works across multiple platforms, animation, interactive video installations, and virtual reality to explore the boundary between the real and the imaginary. Her practice centers on essential geometric forms, which she uses to create a dynamic and three-dimensional vision of space. The exhibition features "Null Void 0" (2017), a conceptual and minimalist AR-AI wall drawing that investigates the theme of emptiness and the generative potential within it. Also on view are "Responsive Banner Sculpture n.2" (2018) , an interactive app-sculpture, and two video sculptures "Void Function: Studies in Negative Space" and "Abstract Class: The Space Between" (2017), which delve into the relationship between inner and outer spatial dimensions, continuously generating new territories of perception through their evolving digital forms.

From the contextual awareness series: Object (RE) Oriented Debris, 2024.

Object (RE) Oriented Debris Object (RE) Oriented Debris Object (RE) Oriented Debris Object (RE) Oriented Debris Object (RE) Oriented Debris Object (RE) Oriented Debris Object (RE) Oriented Debris

Object (RE) Oriented Debris is an augmented reality art application, combined with interactive physical sculptures, that uses pre-trained AI algorithms to recognize and interpret real space via smartphone and tablet sensors. The application generates site-specific meshes that gradually transform the physical environment into an abstract, immersive space, shifting perception between the tangible and the virtual. The mesh textures, inspired by space environments and orbiting metallic debris, evolve dynamically, altering the real-world setting and immersing onlookers in a constantly changing digital landscape. Through interactive engagement, the audience can tap on their device screens to generate and place random 3D debris, drawn from an ever-expanding database of AI-designed 3D assets. Each debris element is fully interactive, in fact viewers can modify its color, scale, position, and rotation, seamlessly integrating it into the digital space. These objects also emit space-inspired sounds, sourced from ESA public archives, enhancing the multi-sensory experience. Additionally, spectators can engage with physical sculptures placed in situ, to unlock their animated interiors, revealing a deeper, hidden layer of interaction. By merging art, technology, and game-like interactivity, Object (RE) Oriented Debris challenges the viewer to look beyond the visible surface, questioning the oscillations between digital and physical spaces. The artwork creates an ever-evolving, machine-generated super-place, speculating on human perception and the fluid nature of reality.
The artwork has been exhibited at Center for Metaverse and Computational Creativity (MC2), Guangzhou, 2025.

Object Oriented Space Paradigm, 2024. Virtual reality artwork.

Object Oriented Space Paradigm Object Oriented Space Paradigm Object Oriented Space Paradigm Object Oriented Space Paradigm Object Oriented Space Paradigm Object Oriented Space Paradigm Object Oriented Space Paradigm Object Oriented Space Paradigm Object Oriented Space Paradigm Object Oriented Space Paradigm Object Oriented Space Paradigm

Object Oriented Space Paradigm is an immersive, vertiginous environment composed of thirteen interactive, reflective, and monochrome minimalist architectures. Part of my ongoing Live Architectures series - initiated in the early 2000s - this artwork reimagines space as a fluid, ever-transforming entity. In this surreal landscape, four Object-Oriented Stones guide onlookers through the space, emitting colored trails that traverse the scenario upside-down, indicating multiple possible paths for exploration. As participants interact, they can reshape the architectures, transforming them into new essential geometric forms. Once altered, these structures become penetrable, allowing viewers to step inside and experience shifting dimensions composed of chrome-like reverberations and liquid, pulsating walls. Object Oriented Space Paradigm invites the audience to navigate the border between art and architecture, immersing them in the bizarre oscillations between the tangible and the virtual.

WEbGL version

Object Oriented Stones, 2023. Virtual reality artwork.

Object Oriented Stones Object Oriented Stones Object Oriented Stones Object Oriented Stones Object Oriented Stones Object Oriented Stones Object Oriented Stones Object Oriented Stones Object Oriented Stones Object Oriented Stones Object Oriented Stones Object Oriented Stones Object Oriented Stones Object Oriented Stones Object Oriented Stones

Object Oriented Stones is an interactive series of 3D sculptures designed for virtual and mixed reality (initiated in 2019-ongoing, and part of diverse artworks created over time). This immersive artwork reveals a visionary and alternative perspective on stones, transforming them beyond their functional and static nature into fluid, dynamic forms, colorful, unpredictable, and seamlessly blending into an ever-changing environment. In this VR experience, spectators step into the middle of nowhere, traversing an abstract forest where they can discover, manipulate, and interact with ten animated stones. As users engage, both the stones and the surrounding landscape shift and evolve, responding to their movements. Once grabbed, the stones emit sonic vibrations, triggering a particle system uniquely shaped by their own geometries. The stones exchange meshes and textures, merging with the environment to create an entirely new, object-oriented atmosphere that unfolds in real-time around the audience.
The artwork has been exhibited at PAN museum, Napoli 2024.

WebGL version

Once Upon a Time in the Digital Realm of Cyberspace, 2023. Artificial intelligence and interactive quadriptych video installation.

Once Upon a Time Once Upon a Time Once Upon a Time Once Upon a Time Once Upon a Time Once Upon a Time

Once Upon a Time in the Digital Realm of Cyberspace is a quadriptych video installation featuring four spherical projections, where artificial intelligence-driven narrative unfolds inside a virtual art studio - The Algorithmic Atelier - set within a constantly shifting cyberspace. At the heart of this AI-generated world are four quirky geometric solids, Cubeo, Spherio, Prismo, and Pyrato. Each influencing the digital environment through voice-activated movements, shakes, and transformations. Within this space, a buffer zone acts as an oracle, while CUDA technology maintains the delicate balance between the four elements. The story later transitions into Digitalia, an ethereal space known as the Zestful Atelier, where buffering transcends mere computation and becomes a celebration of creation and minimalist art. The artwork explores augmented and immersive escapism, highlighting how we are increasingly dissolved between physical and digital spaces. Through AI-driven generative narration, the work induces shifting meanings, oscillations between dimensions, and unpredictable overlaps between reality and the virtual. The audience becomes part of the experience through an interactive mirror effect, pulling them into a bizarre, ever-evolving metaverse that challenges traditional perceptions of space and time.

Video sneak-peek of the 2nd sphere Video sneak-peek of the 3rd sphere Video sneak-peek of the 4th sphere

Tagging Oriented Reality, 2023. Augmented Reality and artificial intelligence app-artwork.

Tagging Oriented Reality Tagging Oriented Reality Tagging Oriented Reality Tagging Oriented Reality

Tagging Oriented Reality is an augmented reality and artificial intelligence artwork that explores the creative potential of tags as a tool for constructing dynamic, constructivist spaces. Designed as an interactive game, the artwork invites the audience to build infinite architectures and sculptures by combining AI-generated phrases. With each tap on the screen, a random phrase appears, which can be scaled, rotated, and translated, allowing participants to construct a space shaped purely by intuition and interaction. By merging language, structure, and spatial design, Tagging Oriented Reality challenges traditional notions of architecture, space, and place. The work invites viewers to reimagine what it means to create and inhabit space in the digital age.

Null Void 0, 2017-ongoing. Augmented reality and artificial intelligence series of interactive wall-drawings. Panke gallery, Berlin 2023.

Null Void 0 Null Void 0 Null Void 0 Null Void 0 Null Void 0 Null Void 0 Null Void 0 Null Void 0 Null Void 0

Null Void 0 is a series of conceptual and minimalist wall drawings that explore emptiness as a space for creation. Blurring the lines between art and game, the artworks function as an 'impossible puzzle,' where the audience is invited to reconstruct the 3D shape of the mural through interactive engagement. By oscillating between tangible and virtual dimensions, Null Void 0 challenges traditional perceptions of space and form. By tapping on their phone or tablet screens, users generate over 100 solid components that compose the 3D artwork. Each piece can be scaled, moved, and rotated, while triggering AI-generated spoken phrases that speculate on computer vision and object recognition models. However, since the AI deliberately struggles to identify specific shapes within the mural, it often assigns unexpected interpretations, leading to surprising distortions and shifts in meaning. Trained on Object-Oriented Ontology and influenced by minimalism and conceptual art, Null Void 0 is part of Live Architectures, a phygital art series I began in late Nineties to transform spaces and architecture into living, dynamic entities that extend beyond their functionality.

Video sneak-peek of the Panke gallery show - Null Void 0 at Over the Real festival

Monolith Variations with AI, 2023. Artificial Intelligence interactive vertical video.

Monolith Variations Monolith Variations Monolith Variations Monolith Variations Monolith Variations Monolith Variations Monolith Variations

Monolith Variations with AI is a large-scale generative video installation, featuring a vertical screen that continuously displays psychedelic reinterpretations of a minimalist, object-oriented monolith, a form uniquely generated by artificial intelligence. Set within a vast, color-saturated void, the monolith’s evolving variations shift dynamically, as the buffering process determines which pixels fall into shadow, creating an interplay of light, depth, and abstraction. Through this ever-changing AI-driven transformation, the work explores the tension between form and emptiness, order and randomness, and the evolving role of AI in artistic creation.

From the Abstract Space series: The Black and White Film, 2023. Artificial Intelligence interactive video, time variable.

Black and White Film Black and White Film Black and White Film Black and White Film Black and White Film Black and White Film Black and White Film Black and White Film Black and White Film Black and White Film Black and White Film

The Black and White Film, along with The Yellow, The Blue, and The Red, forms a quadrilogy of abstract and interactive films I created using ChatGPT APIs, Python, and various sensors. The project is deeply rooted in a psychedelic, yellow-hued abstract film I created in 2001. The four artworks superimpose minimalist, imaginary environments onto the real world, blurring the boundaries between virtual and physical perception. Set to suspenseful music, The Yellow Film invites audience interaction through a series of letter envelopes containing front-and-back clues. When a viewer places an envelope on the table, the film recognizes the clue, dynamically reshaping the narrative. This process redirects and remixes the storyline, transforming it into a non-linear, ever-evolving cinematic experience. The abstract narrative unfolds through shadows that generate shifting geometric volumes extrusions of primitive silhouettes that morph based on the light source’s direction. With each interaction, a new and unpredictable visual space emerges, oscillating between the tangible and the digital, offering viewers a vibrant, ever-changing experience

From the Abstract Space series: The Yellow Film, 2023. Artificial Intelligence interactive video, time variable.

The Yellow Film The Yellow Film The Yellow Film The Yellow Film The Yellow Film The Yellow Film The Yellow Film The Yellow Film The Yellow Film The Yellow Film

The Yellow Film, along with The Black and White, The Blue, and The Red, forms a quadrilogy of abstract and interactive films I created using ChatGPT APIs, Python, and various sensors. The project is deeply rooted in a psychedelic, yellow-hued abstract film I created in 2001. The four artworks superimpose minimalist, imaginary environments onto the real world, blurring the boundaries between virtual and physical perception. Set to suspenseful music, The Yellow Film invites audience interaction through a series of letter envelopes containing front-and-back clues. When a viewer places an envelope on the table, the film recognizes the clue, dynamically reshaping the narrative. This process redirects and remixes the storyline, transforming it into a non-linear, ever-evolving cinematic experience. The abstract narrative unfolds through shadows that generate shifting geometric volumes extrusions of primitive silhouettes that morph based on the light source’s direction. With each interaction, a new and unpredictable visual space emerges, oscillating between the tangible and the digital, offering viewers a vibrant, ever-changing experience

From the contextual awareness series: Depth Data Space, 2022. Augmented reality app using artificial intelligence to create site-specific points cloud all over the real place.

Depth Data Space Depth Data Space Depth Data Space Depth Data Space Depth Data Space Depth Data Space

Depth Data Space is an augmented reality application that utilizes pre-trained AI algorithms to interpret real-world environments, generating a dynamic point cloud structure that envelops the tangible space. Through AI, the real-time depth buffer transforms into a series of nano-sculptures, which collectively form an ever-changing Big Data Space, uniquely shaped by the physical space it overlays. Users are invited to observe this digital evolution of surfaces, navigating the liminal boundary between the tangible and the virtual. The experience unfolds through unpredictable synesthetic combinations, where the physical and digital worlds continuously interact. Using tablets and smartphones, participants can engage further by tapping anywhere on the screen, triggering AI-generated spoken phrases on topics such as physics, quantum dimensions, micro-macro spaces, energy, strings, and probabilistic nature - deepening the conceptual immersion in this evolving, data-driven environment.

From the contextual awareness series: Gold Environment, 2022. Augmented reality app using artificial intelligence to create site-specific meshes all over the real place.

Gold Environment Gold Environment Gold Environment Gold Environment Gold Environment

Gold Environment is an augmented reality application that utilizes pre-trained AI algorithms to recognize and interpret real-world spaces, generating site-specific meshes that seamlessly blend with the environment. From these meshed surfaces, dynamic nomadic sound-objects emerge, growing and shifting as they move through the space, expanding even further when touched. The artwork explores how augmented reality reshapes perception, adding, subtracting, and distorting reality to expand the imaginative possibilities of our surroundings. Using tablets or smartphones, spectators interact by tapping on the screen, triggering random sound effects while exploring the liminal space between the tangible and the virtual. Gold Environment speculates on human perception, transforming the surroundings into a generative, ever-evolving gold texture that continuously shifts and expands. This hybrid experience blurs the boundary between physical and digital dimensions, inviting viewers to step into a parallel world that exists simultaneously with reality.
The artwork has been exhibited worldwide, including: L’opera d'arte nellepoca dell’AI, Parma 360 Festival 2024 and Panke Gallery Berlin.

Still Life, 2020-2021. Augmented reality application.

Still Life AR Still Life AR Still Life AR Still Life AR Still Life AR Still Life AR Still Life AR Still Life AR

Still Life is also an interactive augmented reality application designed to evolve the rich tradition of European still-life painting, blending historical art forms with contemporary AR technology. By doing so, it dissolves the boundaries between physical and digital space, creating a liminal, participatory experience. The AR artwork reinterprets landscapes, paintings, and objects, allowing the audience to reconstruct a ‘diffuse’ augmented reality space composed of randomly generated objects. Using photogrammetry, Still Life overlays objects and landscapes to generate a saturated panorama, transforming physical environments into dynamic, interactive scenes. Through custom gameplay, users engage with 43 digital domestic objects, such as kettles, vases, and sugar canisters, manipulating them through rotation, translation, and scaling using simple finger gestures. These AR objects animate exhibition spaces, both indoors and outdoors, crafting a dreamlike environment where vision itself becomes an ontological force, making the invisible feel vividly present.
The artwork has been exhibited worldwide including Fornasetti store, Milano 2022.

Video sneak-peek sculpture 1 - Video sneak-peek sculpture 2

Still Life, 2019-2020. Augmented reality ceramic sculptures.

Still Life ceramic AR Still Life ceramic AR Still Life ceramic AR Still Life ceramic AR

These works redefine and expand the traditional physicality of sculpture, integrating digital conditions to develop new forms of (im)materiality. Viewers encounter an entirely new way of experiencing and interpreting sculpture, where the boundaries between the tangible and the digital dissolve. Immersed in the sculptures whether in virtual or augmented reality, visitors can fly around and through, exploring the unique possibilities of virtual space. Though hyper-realistic in their visual language, the sculptures remain permeable, allowing viewers to pass through and experience their inner structures. This dissolution of physical limitations highlights the distinct properties of the virtual realm, where matter becomes fluid and form is no longer bound by material constraints. Oscillating between material and immaterial states, these works challenge the very notion of virtual materiality, redefining what sculpture can be in the digital age.

Video sneak-peek sculpture 1 - Video sneak-peek sculpture 2

Still Life, 2019-2020. Virtual reality artwork and site-specific installation.

Still Life Still Life Still Life Still Life Still Life Still Life Still Life Still Life Still Life Still Life Still Life Still Life Still Life Still Life Still Life Still Life Still Life Still Life Still Life

Video sneak-peek.
A virtual reality painting, Still Life overlays image, object, and landscape to create a richly saturated, immersive panorama. Users navigate two distinct worlds, traversing varied terrains, moving through architectural structures, and interacting with ornate objects, all within a uniquely layered topography. Constructed using photogrammetry, a technique that interprets physical material by measuring and reconstructing photographic images, the fractured landscape is composed of scanned elements from my mother’s Italian home. This digitally reconstructed environment blends memory and materiality, turning intimate domestic scenes into a dynamic, shifting world. Through custom gameplay, users engage with everyday objects in unexpected ways. Digital kettles, vases, and sugar canisters disassemble into spiked geometric fragments and distorted sounds when picked up and shaken, revealing their underlying photographic composition. By translating familiar, traditional objects into an expansive virtual realm, Still Life merges historical art forms with immersive technology, dissolving the boundaries between the physical and the liminal.
The artwork has been exhibited worldwide including Zabludowicz Collection museum, London 2021-2022 and Rencontres Internationales Paris/Berlin 2022.

Still Life presentation at MEET Digital Culture Center, Milano. - Still Life presentation at Videocittà Festival Roma.

Crying at the Gypsotheque, 2019-2020. Virtual reality sculptural artwork.

Crying at the Gypsotheque Crying at the Gypsotheque Crying at the Gypsotheque Crying at the Gypsotheque Crying at the Gypsotheque Crying at the Gypsotheque Crying at the Gypsotheque Crying at the Gypsotheque

Crying at the Gypsotheque is a site-specific artwork combining virtual reality with a tangible installation of sculptural elements made from various materials and 3D printing. Designed to be assembled in situ, the project challenges traditional notions of sculpture by merging historical statuary with digital transformation. In September 2019, I began filming 360° video footage of statues from different angles at the Museo dei Gessi of La Sapienza Università di Roma. This footage serves as the immersive backdrop for a boundless digital landscape, where vibrant, dazzling colors invite the audience to move freely within the space. Within this psychedelic techno-disco environment, viewers engage in a dynamic sculptural experience, deforming, disassembling, and reconfiguring forty virtual statues, each with mixed textures. The work aims to overturn the classical Greek canon of proportional statuary, introducing a new assemblage logic based on abstraction and algorithmic aesthetics. Simultaneously, participants in the physical space construct a real sculpture using 3D-printed components, assembling them into a large-scale abstract form collectively built by the spectators. To create Crying at the Gypsotheque, I used photogrammetry and 3D scanning to capture the statues, manipulating textures and chromatic maps to generate singular, ontological objects that users can transform irrationally and unpredictably. As spectators interact with the virtual statues, they trigger continuous deformations, altering the inner and outer geometry of each piece. The longer they hold a statue, the more it morphs, and once released, the transformation halts, leaving behind a constantly evolving sculptural landscape.

Compressions Houses - From Time Bomb The Love (3D printing augmented reality and immersive sculptures 2015-2021).

Compressions

Compressions Houses - From Time Bomb The Love (3D printing augmented reality and immersive sculptures), at MakerArt show Roma, October 2019.

Object Oriented Stones 2017-ongoing. Interactive - AR VR MR - and tangible sculptures made of ceramic, polystyrene and diverse materials.

Object Oriented Stones Object Oriented Stones Object Oriented Stones Object Oriented Stones Object Oriented Stones Object Oriented Stones Object Oriented Stones Object Oriented Stones Object Oriented Stones Object Oriented Stones Object Oriented Stones Object Oriented Stones Object Oriented Stones Object Oriented Stones Object Oriented Stones Object Oriented Stones Object Oriented Stones Object Oriented Stones Object Oriented Stones Object Oriented Stones Object Oriented Stones Object Oriented Stones Object Oriented Stones Object Oriented Stones Object Oriented Stones Object Oriented Stones Object Oriented Stones Object Oriented Stones

Object Oriented Stones (both virtual as interactive NFTs and physical sculptures made of ceramic, and painted polystyrene) reimagine lithic forms through interactive digital metamorphosis. The series reveals stones' hidden dimensions, transforming these ancient materials into fluid, generative sculptures that transcend their physical constraints. Each stone becomes a portal to abstract, chromatic landscapes that evolve through audience interaction. A dynamic gradient background generates ethereal colors, emanating from rotating triangular geometries. Viewers become co-creators, manipulating the 3D form through a suite of particle systems: VortexSpirals that twist the stone's structure, ShockwavePulse that ripples through its mass, TornadoFunnel that creates vertiginous motion, PowderDisintegration that dissolves solid form, and PlasmaField that energizes the space with also a random trail effect. The sculpture's materiality undergoes continuous transformation through algorithmic explosions, calculated along spiral trajectories. These interactions fragment the solid form into a dynamic wireframe, generating ever-changing textures through randomized chromatic threads. The work explores the tension between sculptorial permanence and digital fluidity, creating a participatory space where matter meets computational possibility.

Video sneak-peek - OR - go to play with the interactive sculptures

From the VR series Inside Geometry Double Language, 2015: Circle in Circle 2019, Memorijal Complex Korcula.

Circle in Circle Circle in Circle Circle in Circle Circle in Circle Circle in Circle Circle in Circle Circle in Circle Circle in Circle

Virtual reality site-specific installation at Memorijal Complex Korcula, 2019. Curated by Darko Fritz

Object Oriented Space. Solo show at MLAC - Museo Laboratorio Arte Contemporanera Roma, 2019.

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Object Oriented Space. Solo show at MLAC - Museo Laboratorio Arte Contemporanera Roma, 2019.

Catalogue-Book video-presentation (ITA)

From the VR series Inside Geometry Double Language, 2015: Black Square.

Black Square Black Square Black Square Black Square Black Square Black Square Black Square Black Square Black Square Black Square Black Square

Black Square. Virtual reality site-specific installation at my solo show at MLAC museum Roma, 2019.

Extreme Surfaces and Terrains, 2015-ongoing. Google Cardboard virtual reality sculptures exhibited on various occasions.

Extreme Surface Extreme Surface Extreme Surface Extreme Surface Extreme Surface Extreme Surface Extreme Surface Extreme Surface Extreme Surface Extreme Surface Extreme Surface Extreme Surface

From left: MAXXI museum Roma 2017, Urvanity Art Fair Madrid 2018, GABA.MC Macerata 2018. 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.

From the VR series Inside Geometry Double Language, 2015: Two Times Four.

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Two Times Four. Virtual reality site-specific installation at Spectra Festival. Anatomy rooms museum, Aberdeen 2018.

From the VR series Inside Geometry Double Language, 2015: Space Filling Curve.

Space Filling Curve Space Filling Curve Space Filling Curve Space Filling Curve Space Filling Curve Space Filling Curve Space Filling Curve Space Filling Curve Space Filling Curve

Space Filling Curve. Virtual reality site-specific installation at ZKM museum - Zentrum für Kunst und Medientechnologie, 2017.

From the VR series Inside Geometry Double Language, 2015: Earth Spiral.

Earth Spiral Earth Spiral Earth Spiral Earth Spiral earth-spiral earth-spiral Earth Spiral Earth Spiral Earth Spiral Earth Spiral Earth Spiral Earth Spiral

Earth Spiral. Virtual reality site-specific installation at the Land Art festival Rocciamorgia, 2017.
The artwork has been exhibited at HEK - Haus der Elektronischen Künste Basel 2018.
Earth Spiral explores nature as an interface, transforming it into a participatory, living, and vibrant experience. Through the audience’s engagement, the artwork highlights the paradox of modern space-time, where reality is increasingly dissolved between physical and virtual dimensions. Utilizing virtual reality, Earth Spiral delves into the intrinsic semantics of nature, often subverting the medium itself. Spectators, using 3D viewers, bow toward nature - both physically and metaphorically - while simultaneously kneeling before technology, using it to see beyond surface reality into a deeper ontological vision of nature itself. In this altered perspective, nature appears animated by its own metaphysics, existing beyond functionality or practical purpose. Inside the VR experience, Earth Spiral presents a modified vision of nature, incorporating twenty curated Google Earth maps. These maps reveal bizarre earth memories, landscapes transformed into super-objects, and geometric perspectives that challenge conventional perception. The result is an ontological exploration that extends beyond cognition, where nature is no longer just observed, but reimagined in an immersive, shifting digital landscape.

From the VR series Inside Geometry Double Language, 2015: Area Between Curves.

Area Between Curves Area Between Curves Area Between Curves Area Between Curves Area Between Curves Area Between Curves Area Between Curves Area Between Curves Area Between Curves Area Between Curves Area Between Curves Area Between Curves Area Between Curves Area Between Curves

Area Between Curves. Virtual reality site-specific installation at MAXXI museo, 2017.

Null Void 0, 2017-ongoing. Augmented reality and artificial intelligence series of interactive wall-drawings.

Null Void 0 Null Void 0 Null Void 0 Null Void 0

Null Void 0 is a series of conceptual and minimalist wall drawings that explore emptiness as a space for creation. Blurring the lines between art and game, the artworks function as an 'impossible puzzle,' where the audience is invited to reconstruct the 3D shape of the mural through interactive engagement. By oscillating between tangible and virtual dimensions, Null Void 0 challenges traditional perceptions of space and form. By tapping on their phone or tablet screens, users generate over 100 solid components that compose the 3D artwork. Each piece can be scaled, moved, and rotated, while triggering AI-generated spoken phrases that speculate on computer vision and object recognition models. However, since the AI deliberately struggles to identify specific shapes within the mural, it often assigns unexpected interpretations, leading to surprising distortions and shifts in meaning. Trained on Object-Oriented Ontology and influenced by minimalism and conceptual art, Null Void 0 is part of Live Architectures, a phygital art series I began in late Nineties to transform spaces and architecture into living, dynamic entities that extend beyond their functionality.

Null Void 0, 2017-ongoing. Augmented reality and artificial intelligence artworks. Carrara marble, Nero Marquina marble.

Null Void 0 Null Void 0 Null Void 0 Null Void 0 Null Void 0 Null Void 0 Null Void 0 Null Void 0

Null Void 0 is an augmented reality and artificial intelligence artwork derived from real marble sculptures, exploring the theme of emptiness as a space for creation. Functioning as an 'impossible puzzle,' the work invites the audience to engage in a game-like experience, reconstructing the sculpture by tapping on the screen to generate its individual solids. Each piece can be scaled, rotated, and moved, while triggering AI-generated phrases that speculate on computer vision and object recognition models. In fact, the AI invents meanings for the new generated shapes. Beyond reconstruction, the game allows the audience to create their own abstract sculpture, shaping it according to personal aesthetics. Null Void 0 challenges the very definition of sculpture in the digital age, blurring the boundaries between the tangible and the virtual.

video sneak-peek 1 and video sneak-peek 2

From Fourth Dimension Banner: Null Void 0 and Climate Objects, 2017. Virtual reality video sculptures. Carrara marble, Nero Marquina marble, Google Cardboards and smartphones playing vr animations.

Climate Objects Climate Objects Climate Objects Banner Banner Banner Banner Banner Banner Banner Banner Banner Banner Banner

The immobile, yet indomitable Banner-Marbles radiating imaginary concepts of space-time, as if embodying primordial representations of suspended aesthetics. Anchored in place, these marbles evoke a sense of void, an aesthetic transcendence that pushes beyond the human experience, an escape from the wall into a state of soothing contemplation. Through the void within the sculpture, we glimpse a space that exists only in imagination.

Climate Objects, 2017. Virtual reality video sculptures. Diverse materials: 3D printing, Plexiglas, Google Cardboards and smartphones with vr animations.

Climate Objects Climate Objects Climate Objects Climate Objects Climate Objects

The immersive video sculptures serve as portals, seamlessly connecting outdoor physical space with inner digital and fluid dimensions. In Climate Objects, a tangible 3D-printed frame is mounted on the wall, acting as a liminal threshold - a space to be crossed. Beyond this structure, 360° liquid animations unfold within the The VR video sculptures materialize as fragments of exploded super-objects, derived from my net animation The Fourth Dimension Banner (2012). These shattered forms transform into independent super-objects, evolving dynamically within the VR space. As they execute randomized functions, Climate Objects VR animations create harmonic, bending dimensions, revealing infinite depths and ever-shifting spatial dynamics.

From the series Live Architectures: Dimensioning Extrusion n 1 and White Anaglyph, 2016. Video-sculptures, 1' each.

Extrusion Extrusion Extrusion Extrusion Extrusion Extrusion Extrusion Extrusion Extrusion Extrusion Extrusion Extrusion Extrusion Extrusion

Dimensioning Extrusion, is a series of video sculptures from the Live Architectures artworks, featuring a geometric projection in constant transformation. The work, including 3D anaglyph animations, continuously deconstructs and reshapes an extreme yet minimalist tangible surface, challenging the perception of form and space.
The artwork has been exibited at MGLC - International Centre of Graphic Arts, Ljubljana 2018.

From the series Live Architectures: White, Yellow and Grey compositions, 2016. Anaglyph animations 1 min. each.

Anaglyph Anaglyph Anaglyph Anaglyph

The anaglyphic animations are designed to disrupt the static perception of architecture and digital environments to explore new spatial possibilities and dimensions unique to the digital world. By immersing viewers in a fourth digital dimension, these animations transform virtual space into an integral part of everyday experience - one that is impossible to ignore.

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

From the series Live Architectures: Dimensioning, solo show at Furtherfield gallery, London 2016.

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Dimensioning. Immersive solo show at Furtherfield gallery, London, April-June 2016.

From the Live Architectures (and Meta Motus 2010): a series of Virtual reality animations, 2016.

Live Architectures vr Live Architectures vr Live Architectures vr

A virtual reality series exploring architecture as a living, dynamic entity. Over time, this multifaceted body of work has redefined both exterior and interior spaces, transforming them into vibrant, evolving environments. In Dimensioning, space is no longer static but exists as a fluid dimension in constant transformation that challenges traditional notions of structure, inviting viewers to experience a continuously shifting spatial reality.

From the series Live Architectures: Dimensioning n.3, 2016. Virtual reality immersive experience.

Dimensioning Dimensioning Dimensioning

Dimensioning is a virtual reality series exploring architecture as a living, dynamic entity. Over time, this multifaceted body of work has redefined both exterior and interior spaces, transforming them into vibrant, evolving environments. In Dimensioning, space is no longer static but exists as a fluid dimension in constant transformation that challenges traditional notions of structure, inviting viewers to experience a continuously shifting spatial reality.

From the series Live Architectures: Dimensioning n.2, 2016. Virtual reality immersive experience.

Dimensioning Dimensioning

Dimensioning is a virtual reality series exploring architecture as a living, dynamic entity. Over time, this multifaceted body of work has redefined both exterior and interior spaces, transforming them into vibrant, evolving environments. In Dimensioning, space is no longer static but exists as a fluid dimension in constant transformation that challenges traditional notions of structure, inviting viewers to experience a continuously shifting spatial reality.

From the series Live Architectures: Dimensioning n.1, 2016. Virtual reality immersive experience.

Dimensioning Dimensioning Dimensioning Dimensioning

Dimensioning is a virtual reality series exploring architecture as a living, dynamic entity. Over time, this multifaceted body of work has redefined both exterior and interior spaces, transforming them into vibrant, evolving environments. In Dimensioning, space is no longer static but exists as a fluid dimension in constant transformation that challenges traditional notions of structure, inviting viewers to experience a continuously shifting spatial reality.