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.

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.


Portrait 360° | CAPOVOLTI
cartonpiuma, vinile
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.