F E M I N A

LIMINALITY explores the idea of grace and the eye that defines it during the Renaissance, that of the painter, who accorded it par excellence to the feminine figure. Echoes of polyphonic choirs are layered into a poetic and intense textural flow and samples of Botticelli’s masterpiece celebrating prosperity, the painting called Primavera, are deconstructed by transforming them into an evolving stream of sound-sensitive images.

The figuration of grace in Renaissance times became the starting point for a study on this aesthetic category and its current possibilities of signification, that translated into a game of entanglements and refractions.
The gazes of Botticelli, fixed on canvas for posterity, and those returned by the portrayed ladies are absorbed in a process that in turn establishes a third gaze, one abstracted in the rules of its own numerical language, though no less communicative.

FLURRY relies on the study of communication between an aesthetic of the Digital as a transparent medium and an aesthetic of the Digital as an unveiled process.Through processing focused samples from Botticelli’s paintings cycle dedicated to the figure of Venus (Primavera, La nascita di Venere), the aim was to establish a connection between the analytical and the creative potential of the Digital.

The echo of polyphonic madrigals within a composition made up of complex textures, drones, glitches, noise and concrete sounds, combined with the digital processing of portions of pictorial works processed into primary graphic elements, particle nebulae and glitches give rise to a stream of audiovisual stimulations within an exchange of expressiveness between past and present. 

Domenico Ghirlandaio's Portrait of Giovanna Tornabuoni, dated 1488, and Piero della Francesca’s Portrait of Duca e Duchessa di Urbino (1467) were deconstructed through clouds of noise and then dynamically reconstructed with Delaunay's triangulation. The golden section, dear to Renaissance masters, comes into dialogue with alternative proportions and math principles, which are manageable thanks to the computational power of Jitter’s algorithms. The gazes of painters and those returned by the portrayed ladies are absorbed in a process that in turn establishes a third gaze, one abstracted in the rules of its own numerical language, though no less communicative. Similarly, vocal polyphonies are treated through deliberately exaggerated quantization and resynthesis processing that alters their nature; the resulting samples, while retaining memory of those distant harmonies, are able to relate with the sculptured sounds of electronic music.

IVY is a reworking of Domenico Ghirlandaio's painting 'Portrait of Giovanna Tornabuoni' - 1488. The patterns of the young woman's dress were deconstructed through clouds of noise and then dynamically reconstructed with Delaunay's triangulation.

Boris Delaunay (1890/1980) was a Soviet mathematician and climber. His study of algebra was always challenged by his passion for mountains. The combination of these passions led him to study mathematical crystallography and general mathematical models of crystals. In this work, the triangulation between thousands of points sampled from Tornabuoni's suit seems to give rise to a flow of shapes that combine the mathematician's passions and resemble crystals and textures that intertwine in a kaleidoscopic flow.

In the last part of the exhibition you can see the documentation of the artist's live performance. This video adds new contexts and dynamics to the NFT collection, which was created specifically for the IOIGNALITY and NFTROME project based on the F E M I N A work.