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The Prix Ars Electronica Archive is a collection enabling search and viewing of all the submissions since 1987. The award-winning projects are documented with catalogue texts and audio-visual media. All other submissions can be searched by title/artist and displayed with year, category in list form. Please cite the credits (artwork name, artist and photographer) and only use the materials if your article is related to Ars Electronica.
Captives
Quayola
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*Captives* is an ongoing series of digital and physical sculptures, a contemporary interpretation of Michelangelo’s unfinished series *Prigioni* (1513-1534) and his *non-finito* technique.
The work explores the tension and equilibrium between form and matter, man-made objects of perfection and complex, chaotic forms of nature. Whilst referencing Renaissance sculptures, the focus of this series shifts from pure figurative representation to the articulation of matter itself. As in the original *Prigioni*, the classical figures are left unfinished, documenting the very history of their creation and transformation.
Mathematical functions and processes describe computer-generated geological formations that evolve endlessly, morphing into classical figures. Industrial computer-controlled robots sculpt the resulting geometries into life-size “unfinished” sculptures.
By redeploying historical works, *Captives* foregrounds a series of contemporary shifts between mathematical and figurative description, situating objecthood on a continuum without a natural beginning or end.
Links: http://www.quayola.com/captives-1/
The work explores the tension and equilibrium between form and matter, man-made objects of perfection and complex, chaotic forms of nature. Whilst referencing Renaissance sculptures, the focus of this series shifts from pure figurative representation to the articulation of matter itself. As in the original *Prigioni*, the classical figures are left unfinished, documenting the very history of their creation and transformation.
Mathematical functions and processes describe computer-generated geological formations that evolve endlessly, morphing into classical figures. Industrial computer-controlled robots sculpt the resulting geometries into life-size “unfinished” sculptures.
By redeploying historical works, *Captives* foregrounds a series of contemporary shifts between mathematical and figurative description, situating objecthood on a continuum without a natural beginning or end.
Links: http://www.quayola.com/captives-1/
Co-Production: ELMSLY – MU Gallery
Manufacturing: Odico
Software: Natan Sinigaglia, Matt Swoboda, Julien Vuillet
Sound: David Kamp
Z-Brush: James Hardingham
Assistants: Matteo Zamagni, Aymie Backler
Supported by: MU Gallery, Eindhoven, Holland
Manufacturing, CyberArts Exhibition: voxeljet AG
Manufacturing: Odico
Software: Natan Sinigaglia, Matt Swoboda, Julien Vuillet
Sound: David Kamp
Z-Brush: James Hardingham
Assistants: Matteo Zamagni, Aymie Backler
Supported by: MU Gallery, Eindhoven, Holland
Manufacturing, CyberArts Exhibition: voxeljet AG
Quayola (IT). Highly regarded for his enigmatic video installations, Quayola creates hybrid spaces of animated painting and sculpture. Engaging a practice of audiovisual performance, drawing, photography and software programming, he explores a fine boundary between the real and the artificial. Special institutional commissions of Quayola’s work have allowed him exceptionally rare access to the art and architecture of churches, theaters and museums in Europe, such as Notre Dame and the Vatican. In his work, original masterpieces and collections become the raw canvas, as Quayola anchors a video-based exploration in a conversation about archives, collage, intellectual property and the appreciation of an object. Also a frequent collaborator on musical projects, Quayola has worked with composers, orchestras and musicians including the Ensemble Intercontemporain, Vanessa Wagner, Mira Calix, Plaid, Matthias Kispert and the National Orchestra of Bordeaux. In 2005 he was awarded a BA from the University of the Arts London.