2011 “Live sculpture”, interactive video-sculpture on mirror, time variable.
"Live sculpture" is an interactive and performativity video-sculpture build as a communicating mirror where the body of the viewer is fully participating. The audience when in front of the mirror is scanned and filmed in real time by a web-cam installed behind the frame, then revived and reshaped in a human scale video projection, as a three-dimensional marble sculpture. This new three-dimensional live image of the viewer-sculpture is entirely built of an ever-changing interactive mesh, tuning into and reacting to body movement, environment light and speed of the spectator’s movement. The mirror is a sort of “mirror mirror on the wall”, but instead to make appear the fairest of them all, it creates from the viewers’ distorted three-dimensional monsters of themselves bringing out the hidden and chilling part of the psyche.
2011 "Talking in strings", generative video installation. Time variable.
"Talking in strings" is a generative video installation inspired by the 'Rotor', famous Luna Park rotating carousel. "Talking in strings" develops into a cylindrical space around the audience that create the installation itself in real time by sending text messages via Twitter. Also the not present public on site can participate as well by sending messages by their remote Internet locations. The sentences run a recording system are displayed immediately – The texts speedily rotate around the space, changing direction, color, font, and some of them ramble in absence of gravity - The generated phrases, dissolving and wrapping themselves around disoriented people who are watching as texts become 'strings', no longer readable. These ‘strings’ slowly disappear as light’s bundles surrounding the body of the spectators like colored trails left by comets or as if we were inside of Newton’s disk.
2011 "Tales from space", generative video installation based on the theory of the quantum mechanics. Time variable.
"Tales from Space" is a generative video installation that develops in a hollow space or under a dome. The viewer is surrounded by the projections and listens to short sentences about the concept of multidimensional-space. The words, generating a barrage of random points, blacks holes, micro-flash-dimensions and macro forms of light that intersect each other; envelope themselves, double back, widen and shrink, depending on the spectrum modulation of the sound narrative that is based on the concept of quantum mechanics.
2010 From the series “Live Architecture”: “Augmented irreality”, interactive video installation, time variable.
"Augmented Irreality" is an interactive video installation that is projected onto three walls and the floor. The artwork (built in Quartz Composer and Artoolkit) puts the viewer into the 3D software by placing him in the "window-camera." The spectator, by using some matrices (having different patterns, hand palm sized) printed on squares, is able to operate, move, zoom, remove and interact with three-dimensional objects that meet on the Cartesian axes X, Y and Z of the simulated software. The artwork recreates a three-dimensional flat under construction, which the audience itself continues to customize through their movements. Also “Augmented Irreality,” like other video installations of the series "Live Architecture," is based on the concept of "super place" where the site is self-performing and moves beyond its capabilities. The video installation reflects on the idea of the virtual/unreal and how our bodies, in real space, are related to this kind of dimension/experience. “Augmented Irreality” highlights the paradox of how augmented reality, in truth, diminishes reality itself, removing and modifying the real levels, it increases the irreality in our real atmosphere.
2010 “The virtual Prigione”, interactive video-sculpture, time variable. Demo version 2’30’’. Soundtrack by Netherworld.
“The virtual Prigione” is an interactive portrait video-sculpture inspired by the concept of the latest “unfinished” sculptures of Michelangelo, named “Prigioni.” The website that hosts the virtual sculpture becomes dynamic and interactive. The user can sculpt using the mouse as a chisel. "The virtual Prigione" represents various states of being. The spectator can choose to liberate the sculpture from the marble and its dependence material, so the body-statue sublimates and the marble becomes virtual idea. Or the user can also choose to imprison the statue into the marble, bringing it to the primordial state where the
mass has a simple geometric figure.
2010 From the series Live Architecture: "Meta Motus", interactive video installation, time variable.
“Live Architecture” is a series of site-specific interactive video installations I thought of and made in order to reshape the architecture in public places, as well as interior environments, into something vibrant and lively. The “Meta Motus” installation, developing all around the viewer, shows a dynamic atmosphere that is in one continuous transformation. "Meta Motus" reacts to the spectator’s actions and movements that they make freely throughout the space. Those movements are captured from a camera tracking action and translated on the x, y and z coordinates, in order to redesign the whole ambient with various patterns.
2009 From the series "Digital art in public space": “Over the limbo”, interactive video installation, time variable.
“Over the limbo” is an interactive one-screen video installation. The artwork aims to connect and merge the virtual world of Second Life with the real world. The installation transforms a tangible atmosphere into a ‘limbo’ where the viewer's social identity is in question. In fact, the spectators can share with the avatars, outside Second Life, the same time and the same place. The audience is called to cope with a digital visual extension of time and space. This is the place in which both the landscapes overlaps and users interact with the avatars. Universe and meta-verse are trapped on the borderline of a real-scale-surreal-dimension.
I’ve designed "Over the limbo" using After Effect and Quartz Composer. With Quartz Composer I’ve imported scenarios of Second Life, in real time, on the computer. At the same moment a web-cam, connected to various patches in Quartz Composer, films the viewers and projects them to the middle of a virtual atmosphere. I've used some software effects to merge this space with the surrounding reality.
2008 From the series “Live Architecture”: "Landspace", interactive video installation, time var. Soundtrack: Morketid by Netherworld.
“Landspace” provides a view into a virtual extension through motion. Various overlayed currents compiled of a range of extreme terrain ebb and swell, transforming the artwork's internal atmosphere through harmonized fluctuations with Landscape's counterpart, an isolationist visual and musical artwork.
Constituting it's self through the concept of the new "second nature" of our digital time, the interactive video installation shows a sort of artificial 'natura-naturans' composed of large atmospheres in a state of constant change. The installation projects a virtual and interactive Land-Art, developed to be planned in the wide-open spaces which we inhabit, reiterating synthetic and essential notions of architectural atmosphere.
2008 From the series “Live Architecture”: "Speaking at the wall", interactive video installation, time var.
“Live Architecture” is a series of site-specific interactive video installations I thought of and made in order to reshape the architecture in public places, as well as interior environments, into something vibrant and lively. "Speaking at the wall" synthesises the voice into virtual architecture. The spectator's voice is recorded from a microphone and live time audio-video processed through the software Quartz Composer. “Speaking at the wall” develops itself on two walls and the floor. The three screenings around the corner of the three Cartesian axes reconstructs one central illusory perspective.
While the spectator is inside the room and speaks close to the walls, he modifies with his voice (volume and spectrum) the whole environment around him. The words he pronounces draw a new atmosphere... a virtual desert. In this illusory dimension, infinite lines generating emptiness and distances are ‘attracted’ and skim one with the others, fading. The projections reconstruct the scene of a 3-D software grid as a virtual extension in motion of the architectonic space (like an animated “trompe l’oeil” on the ‘Z’ raw co-ordinate). The environments in motion crossing the spectator lead it to an‘unfinished space’. So the spectator is forced to confront himself with another atmosphere, a new ‘digital-where’. This dimension is by now ours, is the fourth dimension. “Speaking at the wall” is a virtual opening never averred, it is a process in constant transformation and therefore it doesn’t characterize any specific place.
A performance idea is the base of this artwork. Watching “Speaking at the wall “ the spectator will see a place that moves naturally beyond its functionality. Therefore the term "Super-place" (I had invented) can be attributed to this video installation. Exactly the contrary happens in the ‘no-where’ in which static presences have only the function to receive temporarily. “Speaking at the wall” probes the notion of space or better of place in order to search new possibility and dimensions which the digital world, not so much separated from the real one, offers. In fact, in this installation the space is meant as the pure shape of intuition. This three-dimensional interactive installation constructs a sort of virtual architectures and territories that elude the corporeal limits. The synthetic shape becomes design, structure, architecture and truth. If the space is the extension in all the directions by our intuitions of the real world in which material bodies are placed, “Speaking at the wall” wants to expand these possibilities of perception.
2006 "Rendering space", ( 1 pattern ) interactive video installation, 4 DVD, 11 min. loop.
2006 "Optical rendering", ( 2 pattern ) interactive video installation, 4 DVD, 11' min. loop.
"Rendering space" is an environment of continual regeneration. Is an interactive video installation that never completes itself. The walls display a rendering’s process that never gives any shape to the environment.
Inside the four uniformed walls of the installation the spectator experiences a sensation of being inside a rendering program, one that is configured to never achieve total realization. While the spectator closes at the walls the rendering's process augment the speed’s progression. The sensitive architecture feeds at the human pulsations contributing to visualize the environment. An environment which is no longer physical, but exists more so in a state of idea - always working, shifting through a continuous process of visual generation: materializing only through ephemeral suggestions of architectural forms.
2004 “The new medium’s order is to shift”, video installation, book; four DVD projected ( video installation: 10’ min. book: time var. ); Soundtrack by Mokamed.
In this artwork (video installation + book), that displays itself on four walls, a window leads the visitor inside the computer rendering space. The spectator will be completely surrounded by water, or better the slow “work in progress” of the work in the room. The four walls contain the video projections, and at the same time keep within the force of nature during its creation and representation. Therefore the spectator feels a sensation always interrupted, waiting for some hint of progression and change.
The artwork comes with a book (an interactive book, in fact, the spectator can decide the frame speed, 15/25/30 per sec, to turn the pages) that contains all the images “frame by frame” of the whole animation. So, the book becomes "digital" and contains a "papery video installation". This operation transports and translates the artwork contents from DVD media-support to the book, assigning it a new meaning to the old media.
"The new medium’s order is to shift" invert and subvert: subject and object, contents and container, form and concept, medium and message. Also it forces the parallel between the concept of mechanical and physical interactivity. So the spectator will see on the four walls the work in progress of the project, but only reading the book will see the finished work.
2004 “El Paseo virtual” site specific Installation. Dim. & time var.
In this urban performance a part of the city will be transformed into a ‘virtual desert’. People, cars that cross this space, will not recognise any reference to the real urban planning but is like they are inside a computer. A virtual (3-D) grid to the ground will be extended. This new urban plan will force the ‘spectator’ to confront himself with another dimension into the city. In this illusory dimension, the essential structures draw an incomplete ‘original project’. Everyone that will go across “El Paseo” with a tom-tom will move on the virtual coordinates (generated by a 3-D software). Crossing “El Paseo”, the space will be the pure shape of intuition.
2004 From the "Exten(z)sion Project": "The origin of imagination" video installation (3 dvd projected) 3’ 16’’. Soundtrack ‘styltriady’ by Mokamed.
“The origin of imagination” is a video installation that develops itself on two walls and the floor. The three screenings in the corner, of the three Cartesian axes, reconstructs one central perspective.
In this illusory dimension, infinite lines generating emptiness and distances are "attracted" and skim one with the others, fading; they become essential structures that draw an incomplete ‘original project’. The artwork represents a virtual extension of a space that describes both our being “by ourselves” and “our being surrounded by “the everything”. It’s like if the place was broken and this takes you towards freedom. A “virtual opening” never averred, because of its constant transformation and therefore it doesn’t characterize any specific place. In this “extension” all directions the spectator images to take are equivalent. “The origin of imagination”: space is the pure shape of intuition.
2003 “Exten(z)sion project II” animation, 4’05’’. DvD Sound track by Mokamed.
2003 “Exten(z)sion project III” animation, 4’05’. DvD Sound track by Mokamed.
2003 “Exten(z)sion project IV” animation, 3’02’’. DvD Sound track by Mokamed.
Virtual room extensions are projected on one wall, offering a whole variety of views and insights according to the visitor directions that is moving in. Objects move, windows are opened; ultimately a door leads to the raw co-ordinates of an abstract, grey data space. The animation always places the spectator’s perceiving body at the centre of the spatial structures, with co-ordinates extending virtually around it.
2003 “Psichedelikalflesh” Animation, 3’33’’ DVD. Sound track ‘sexyflesh’ by Mokamed.
Psichedelikalflesh draws ideas and construct synthesis images, giving shape to various combinations of alternatives spaces. Alluding traces of existing truth, the animation evades the corporeal limits to trigger sensorial, emotional and perceptive ones. “The construction of specifically numerical relationships between the parts brings a wonderful pleasure” (Leon Battista Alberti).
Psichedelikaiflesh becomes part of a conjunction way; an erotic and a self-referential trip between different sensorial reality. It is an intimate travel inspired by hypnotic power of the Mandelbrot’s Fractals. The vertiginous and alternate movement of geometric figures becomes gestures and convulsive movements: gymnastic or self-eroticism, which burst and escape every idea of tangible space for 3 minutes and 33 seconds. Psichedelikaiflesh constructs virtual territories beyond the corporeal limits, to create others. The synthetic shape becomes design, structure, architecture and truth. If the space is the extension in all the directions, by our intuitions, of the real world, in which material bodies are placed, Psichedelikaiflesh wants to expand these possibilities of perception. A sensitive, unsolved, mental and transitory vision is adapted to the requirements of the explorer. This is an artwork linked to the aspects of the aesthetic and to the tensions of the new technologies. Psicadelikalflesh exalts this conjunction between what it is visceral sexual and psychedelic and what favours exteriorize of the mind.
2002 “Exten(z)sion project”, 5’40’’. Video installation, 4 DVD. Sound track by Mokamed.
This video installation is born to develop itself on four walls. The four screenings reconstruct the inside of a house, as s virtual extension in motion of the architectonic space (like an animated “trompe l’oeil” on the ‘Z’ raw coordinate). Are just the “environments” in motion, which crossing the spectator, leads it to an ‘unfinished space”. So the spectator is forced to confront himself with another atmosphere, a ‘digital-where’; this dimension is by now ours: the fourth dimension. In the study-room, while a ‘CD-Rom’ crosses two rooms, it is possible to notice a window, which points out on the ‘reticulum’s texture of a 3D software’. In the main body of the structure, passing for the hall, study, kitchen, the visual of the spectator will arrive to a door that is opened on one view of the same ‘texture’ and leads to a virtual desert gray. The video installation finishes just on the view of the interior of the ‘3D software’ that was used to give ‘life’ and ‘virtual feelings’ to the whole artwork.
A performance idea is the base of this video installation. The spectator will see a place that moves naturally beyond its functionality. Exten(z)sion Project is a "Super-place". Exactly the contrary happens in the "no-where" which static presences have only the function to receive temporarily.
It is just the notion of space or better of ‘place’ that the video installation probes, searching new possibilities and ‘dimensions’, that the digital world, not so much separated from that "real one" offers Exten(z)sion Project is a three-dimensional installation that construct virtual architectures and territories beyond the corporeal limits.
2002 “Calling a Conversation in Universe” video installation, 3’. Four DVD; Soundtrack: “Essential Contact II” by Mokamed.
This video installation develops itself on four walls. The animations are shown using four DVD readers connected to four digital video projectors. The projectors, they’d come arranges to up, into the centre of the space (installs itself with the affixed supports). The first one, project in direction of the floor, an other to the central wall and the others two respective to the walls right and left. Projecting the whole video-installation at the same time.
2002 “Calling a Conversation in Universe” animation, 3’40” DVD. Sound track: “Essential Contact” by Mokamed.
Watching "Calling a conversation in universe": Objective (camera lens), of which normally servants "the mediates information", also in order to distort the truth, "are animated" have now a "own virtual life". Decontextualized from the truth, they films to one with the other; isolated in a neutral background, are animated in continuously different versions: variations bordering on abstraction and research on the composition of image. The “attracted” camera lens, look inquisitively at each other, court and couple with each other to the rhythm of electronic music, especially created for the animation by musician Mokamed. In short: the usual everyday “war” inside the real and virtual one.
2001/2002 “Super Place Project” animation, 1’ DVD. Sound track: “5M” by Mokamed.
In one minute the virtual space is crossed by two circles of writings, (“poor man’s wealth is it in the holy place” and “Rich man’s wealth is it in the city”), that are immediately transformed into a “3-D space”. Nine buildings of light form a circle on this atmosphere, named by me: “super place”; in which every building has the same distance from the center (as in Greek cities and the concept of equality). The “super place” is an holographic installation’s project, navigable by the spectator. However, it cannot be owned or bought because it is made up of pure light.
2001 “The yellow film”, video installation; 5’ 4 DVD. Sound track: by Mokamed.
This is a totally conceptual “yellow film”. Four projections that are developed to ‘random’ on the walls of one room not much large one. The animations are composed from 817 types of different yellows that are followed to rhythm of electronic music, creating one vision totally ‘optical’ and ‘oddity’ of the atmosphere and light.
2001 The Tales: “The Essential Circle” video, 2’35”. VHS-pal. Sound track: LAB-303.
In In the video, a boy makes a necklace of hickeys. The act of “sucking” becomes an obsessive ritual of a useless act. It wants to bring to the light; extrapolating from what’s deep...and the necklace is the final gift (temporary). Only at the end do we see difference between the colour of the both skin and the necklace made up of red spots. The video was purposely recorded on a small red carpet, so as to not create any kind of space-time reference.
2000 “Pipeline Project”, animation, 3’45”. CD-ROM ; interactive version for web: time variable. Soundtracks: “untitled” by Mokamed.
Pipeline is the interactive project of the interior of a cylindrical house made by the manipulation of a rocket. Pipeline is made of 4 floors, without “memories”. The house belongs to the artist who denies the concept of “absolute property”, it is a mental space...a kind of “super place”. Only when it is discovered, does one have the impression that all of the spaces are recurrent!
2000 “Spider’s Web” animation, 3’40” DVD. Sound track: “Morse” by Nightmares on wax.
In this “wire-frame” 3D-animation, cupolas open up in colourful spider webs. When they close they become “architectural” structures similar to a creative graft between a
pagoda and a meringue. (Pagodas-Meringue House).
1998 “Time Bomb the Love”, animation 5’, DVD. Sound track: Underworld.
The animation is a digital manipulation of rockets to the rhythm of techno music. Frame by frame, the missiles turn into very acid, synthetic-basic architectures: “compressions-containers”. Through vertical-horizontal movements, they disappear in straight lines and points, reappearing under the guise of defused bombs (because now they have been transformed into architectures)..."Time Bomb the Love, or better: it’s time for love to explode!"