The Growing Garden, 2007-2008

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Along the same research line as Occulta Naturae, I continued to inquire into the relationship between art, science and new technologies.
So starting from scientific, nano-molecular images, I created 3D animations that recall vegetable worlds, or, sometimes, primordial landscapes. Upon these visionary, ever-changing backgrounds, I made interventions, adding painterly elements with enamel colors applied directly onto the plasma screens (painted screens). In this way, relationships are established with the 3D images underneath, which causes a feeling of estrangement. The fixedness of paint interacts with the dynamic, mobile quality of the virtual dimension. With the screen turned on, projected images and paint are not immediately distinguishable. The two types of superimposed images create a special sense of field depth.
I used the same procedure for 3D images printed on cotton, on which I added acrylic painted interventions. Here I worked on the ambiguity of the two forms of painting, digital and traditional, thus obtaining a delicate perceptive effect.
The large video installation entitled Birth Tree, instead, shows the cycle of life and death of a tree starting from a nanoscale image of a synapse, to underline Nietzsche’s disquieting hypothesis regarding the debated theme of eternal recurrence. 

Image
Nanofungus, 2008, digital print and acrylic on cotton
cm. 45x23

 

Image
Nanofungus, 2008, digital print and acrylic on cotton
cm. 45x23

 

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