CORPO 360° – METAHUMAN

Behind the scenes of CORPO 360°

The figurative representation of the human body and the relationship with nudity have undergone, during the human evolutionary process, moments of maximum expressive freedom and others of total censorship. In the contemporary world, the naked body is increasingly sexualized, both for commercial purposes and for purposes of individual satisfaction or pure exhibitionism.
The body was dressed, unveiled, transformed, deformed, sanctified and its representation was linked to cultural and geographical expressions.
In Corpo 360 ° there is an attempt to represent the human body as it appears, almost scientifically, as a two-dimensional geographical map, as a unitary 360 ° view of its anatomy. Rejecting the usual representational conception (frontal, 3/4, portrait, artistic pose, medium shot, etc.) that has so much affected artists in the various eras, I have chosen to represent the human body as an objective fact.
Through a digital recomposition of the human figure, it is possible to obtain a total and detailed mapping of a single image taken simultaneously from all points of view, from the front to the side, from three-quarters to the rear.
The result is an alienating, unusual, scientific, factual and objective image. Image devoid of modesty, non-embarrassing, non-sexual, non-pornographic, uncensored.
Representing the human body as an objective fact also means identifying the differences to be made explicit visually. Our skin color includes an infinite “palette” of colors, and in Corpo 360 ° they are summarized in a few paintings but they maintain the goal of representing every individual on the planet. Corpo 360 ° is an experience of discovery of the human body, free and incensurable, a way to tell the differences that make us unique and unrepeatable.

No real humans were used in this project. I used the most modern three-dimensional modeling technology to create virtual bodies that were used as subjects. I created “metahumans” who could embody my vision of contemporary man, the result of the mixture of somatic traits between different geographical areas; third generation humans, with no specific race or gender.

Corpo 360° screen 1:1

With the use of ultrasonic sensors it is possible to create an interactive system to activate the effects of changing digital images when the presence of a person is detected and as he approaches the sensor.
By means of an active interaction with the observer it is possible to reveal the details of the human body, from its maximum degree of censorship, only a few pixels, to its maximum degree of freedom, the high-resolution image. This perceptual relationship between work and viewer draws explicit inspiration from the mosaic technique and digital images. In a few years we have gone from images with a few BIT to very high resolution images.
In this interactive installation proposal, the instructions that the sensor receives are used to determine the observer’s distance from the work and change the resolution of the image from a few pixels up to maximum resolution. In the absence of people near the sensor, the digital image will appear as a single predominant color, the closer the observer is, the greater the visible detail.

Corpo 360° wall

MOSAICS 360° | The Work of Art in the Age of Mechanical Reproduction

The mosaic that becomes a pixel, the pixel that becomes a photograph, a photograph that becomes a sculpture.
Mosaic 360 ° is the contemporary human being, aware of his body, aware of his role; an aesthetic human being, narcissus, to follow and share.
Mosaic 360 ° is a 360 degree view of who we are and who we were, they are paper and pvc “photoscultures”, a modern mosaic.
Two identical, mirrored photoscultures, one in black and white and the other in color. The past and the present confronting each other in an intimate look.
The work is designed, analyzed, tested and created to meet the criteria of reproducibility and seriality. An “Art-Design” that blends the design and production processes of fashion and design and takes over the world of art, irreversibly revolutionizing it.
The equation is: as the artist varies, the result of the work does not change.

2 busts, 2 bodies that look at each other, identical in shape, different in the image.
2 paper photoscultures, one has a texture in black and white the other in color.
2 photographic close-ups on the contemporary human being, which are reflected in each other in a temporal succession between past and present.
It is an engineering of the body, an organic architecture on which to build infinite stories.
Two apparently unique sculptures, but it is in its relationship with space that Mosaic 360 ° develops its characteristics as a work of art, while in its technical reproducibility, on the other hand, it justifies its values as an object.
It is an object that seeks its aura and that plays with the perceptive processes of the human eye and with the observer’s relationship of proximity and distance.

MOSAICS 360° | The Work of Art in the Age of Mechanical Reproduction

From 3d to 2d and vice versa.

Materials: Paper, Pvc, Paint.
Dimensions: 100 x 45 x 60 cm

Digital Process:
Software: Daz Studio, Netfabb, Cinema4d, Rhinoceros, Photoshop, Illustrator, Pepakura, Corel, Cura
Tools: Laser Cutting Machine, 3D Printer, Inkjet Printer

Manual Process:
Software: Artist
Tools: Cutter, cyanoacrylate glue, whale sticks, spatulas, iron.

Self-supporting sculpture, hollow, a succession of colored rhomboid tesserae similar to mosaic, the perceptual result of the color sequence forms an image in the human eye, which in this case is the bust of a human being.
In Mosaic 360 ° the boundary between man and machine is not definable, both collaborate to a final result, and the use of technology is essential for the creation of this project, otherwise it would be impossible.

CAPOvolti

Portrait 360° | CAPOVOLTI
cartonpiuma, vinile
2018
240 x 80 x 80 cm

Il termine razza oggi suscita ed evoca sensazioni contrastanti, frutto di condizionamenti mediatici, di ignoranza inespresse che oggi trovano voce attraverso i social media e il dibattito pubblico.
Il termine razza andrebbe usato solo per raccontare le differenze tra specie e non tra esseri umani. Il colore della pelle, la fisicità, il genere sessuale, vengono considerati e dibattuti solo per marcare delle differenze.
Differenze che immaginavo fossero superate da anni o che il processo di evoluzione culturale stesse prendendo la via dell’uguaglianza. Mi sbagliavo.
E’ un dovere attraverso l’uso del mio linguaggio comunicativo poter raccontare quanto oggi la società italiana ed Europea sta vivendo. In un caos di informazioni vere o presunte, CapoVolti ha la presunzione di poter fissare nel tempo attraverso l’arte dei concetti di uguaglianza, suscitare delle riflessioni sulla differenza tra genere sessuale e colore della pelle.
3 sculture di volti umani, identici nella forma, differenti nel contenuto compongono l’opera Portrait 360° | CapoVolti. Una donna, un uomo, una bianca, un nero; uno stereotipo classico dell’idea di razza, sviluppato attraverso delle rotazioni inconsuete dell’immagine rispetto alla forma costituiscono il concetto dell’opera. L’uomo ha forma e contenuto in posizione naturale, la donna ha forma e contenuto in posizione innaturale. Le due immagini opposte e capovolte raccontano la differenza, l’incomunicabilità tra i generi e le razze.
Una terza opera, che è l’unione delle due precedenti, presenta entrambi i volti nella stessa forma. Le due texture non si combinano, non comunicano, creano una nuova immagine che racconta e rafforza la mia idea di uguaglianza, apparente, non realistica, ma ideologicamente giusta. Il caos generato in questa terza scultura tra l’unione dell’uomo e della donna stimola l’osservatore a riflettere e a interrogarsi. Il caos è riequilibrato dalla forma, un’idea di silenzio che nasce dalla serialità della silhouette del ritratto, sempre identica, senza genere, senza razza, unica, un Human Default estetico.

Portrait 360° | MADE IN CHINA

Art in Residence 2017 | Qingyun International Art Center | Beijing | China

TRIS4
Portrait 360° | MADE IN CHINA

A personal vision of what piqued my feelings in the first 6 weeks of residence in Beijing. Through the use of stereotypical images and universally recognizable I drew a line between decoration and human aesthetics. A pictorial decoration that takes a module of “Temple of Heaven” in Beijing, a traditional porcelain of the Ming Dynasty, a portrait of a Chinese woman by the hair color unequivocally blacks, these are the subjects that make up the new work “Made in China” . Mine is an aesthetic and a synthesis operation that uses the shape of the human face to tell the worlds, places and ways of being human. A meeting between textures and colors, which shall presume to tell a continent, China, through an aesthetic vision. Despite the modernity and progress that has subjected this nation, uses and customs, traditions and the past live in harmony with the contemporary.

TRIS6

Following this balance between past and future, I made use of cliches that characterize the traditional Chinese aesthetics for readapting to a more contemporary story linked to the specificity and the human ability to create beauty through decoration, painting or their own bodies. With the use of well-established technique of interweaving of paper which I work for a few years that find complete affinity to this part of the world I created this new work I have deliberately called MADE IN CHINA, because it was conceived, created in China and wants to show that China is not just the world’s factory, but also the home of special aesthetic that we often forget the existence and that we should give more space and recognition in the Western world.

Portrait 360° | MADE IN CHINA

80 x 80 x 32 cm | Paper, PVC | 2017

在北京居住的头6个星期,我的感受是什么的个人视野。 通过使用刻板图像和普遍认可我画了装饰和人类美学之间的线条。 北京传统瓷器北京的“天坛”模块的图案装饰,中国女人的头发颜色的画面明确地是黑色的,这些是组成新作品的主题“Made in China“。 矿是一种美学和综合的作品,它利用人脸的形状来描述人类的世界,地方和方式。 纹理和颜色之间的会议,将通过美学视野来假定告诉大陆,中国。 尽管受到这个国家的现代性和进步,使用和习俗,传统和过去与当代和谐相处。

在过去和未来的平衡之后,我利用表现中国传统美学的寓意,来看待一个更具现代感的故事,与特定性和人类通过装饰,绘画或自己的身体创造美丽的能力有关。 通过使用成熟的纸张技术,我在几年之内工作,发现与这个世界完全亲近的纸张,我创造了我故意称之为“中国大陆”的新作品,因为它是在中国设计的 并希望表明,中国不仅仅是世界工厂,也是我们经常忘记生存的特殊审美之家,我们应该在西方世界给予更多的空间和认可。

About Qingyun’s residency:

青云艺术园

青云艺术园坐落于北京市大兴区青云店,致力于各类手工艺术创作、研发。目前开设有陶瓷,玻璃,金属,首饰,漆艺等工作室,从研习传统到当代艺术的国际艺术交流是机构一大特点。我们与中国本土及国际范围知名和新锐艺术家广泛合作,接受全球艺术家及艺术机构的驻留与合作,相关专业人士提供一个具有专业高度和学术多样性的创作、研究空间,并在彼此的交流共享中获得更多发展的可能性。定期举办各类艺术展览,讲座,工作坊,为国际文化的交流发展,付出自己的努力及实践。

地点青云艺术园 QIngyuan Art Zone (QAZ)地址北京大兴区青云店镇环镇路青云艺术园
电话185-2396-7194开放时间负责人电子邮件

http://www.chinaresidencies.com/residencies/qingyun-qing-yun