Between classic and digital, the innovative and generative art of Quayola is staged at Palazzo Cipolla in Rome, creator of media-art with a personal expressive and communicative code, far from the cliché of dehumanized technology

Until January 30, 2020 , Palazzo Cipolla in Rome hosts the first major solo show in the capital of Quayola: an immersive journey into the main themes of his computational art . One of the most important exponents of media-art at the international level, Quayola has invented a personal expressive code and a recognizable artistic / communicative language, re-mastering the history of art through his vision.

Between classic stylistic features and futuristic mediums

Emphasized by the historical setting of the prestigious building, the exhibition is animated by a comparison continuous between the classical education of the artist and the use of mediums more futuristic visuals. The works on display, created between 2007 and 2021, provide an overview of Quayola's creative process: temporal passages, anticipated futures and reconstructed pasts.

Three thematic areas far from the clichés of a dehumanized technology

The exhibition project is developed in three thematic areas: classical iconography , unfinished sculptures and tradition of landscape painting. Using systems of robotics , Artificial Intelligence (AI) and generative software , Renaissance and Baroque paintings are transformed into complex digital compositions through computational and sculptures inspired by Michelangelo's technique of the unfinished are sculpted by robotic means. This is followed by representations of nature, the product of a generative art that highlights the fascinating - albeit paradoxical - similarity between the natural world and the digital one.

The interpretation of mediums (and classic) according to the Quayola code

In front of video projections, sculptures, and very high definition prints, spectators have the opportunity to confront themselves with the incredible artistic potential of these means of expression - far from the clichés of a dehumanized technology - and to acquire, moreover, precious indispensable reading tools of our contemporary society. Despite the change of medium, the common character of Quayola's artistic research emerges along the exhibition path: a reinterpretation of the classic compared with the great works of the masters reproduced on 'pedagogical signs', designed not only to facilitate the visit of the spectators, but also to guide the exploration and understanding of the Quayola code.

Robotic sculptures and artificial nature

The highest expression of Quayola's technological capacity, the robotic sculptures on display are born from the dialogue with the great artists of the past, in particular with Bernini. A computational world often seen at the antipodes of the natural kingdom, but which the artist reinterprets showing how generative art is perhaps the ideal means to explore nature. There is, in fact, an 'organic' process in natural and algorithmic life, emphasized in botanical works such as Jardins d'été,  a kind of new (digital) form of Impressionism.

Works to understand the (digital) world we live in

In our digital age, Quayola's art helps to think and understand the world we live in. By developing works that take on both an immaterial (such as videos) and material (such as prints or sculptures) form, the artist highlights the paradox of an immateriality which is in fact a new form of materiality. The appropriate language to express a 21st century worldview.