A pioneer of digital art, Italian visual artist known by the name Quayola, developed his own artistic language and elements of expression. He deals with a sensitive subject, not particularly new in essence, but definitely unique in treatment. That subject is re-interpretation, and in the most accurate sense of the word, since Davide Quayola (which is his full name) does not simply make mimicking reproductions. His videos, objects and images tend to create a contemporary version of the classical artworks they refer to. Although his practice extends to less than 10 years into the past, Quayola has been exhibited all over the world, and a new exhibition is coming up on January 14th at NOME, Berlin.
The artist continues to test the boundaries between representation and abstraction. The overall impression that his artworks are highly influenced by technology cannot be denied, and yet the digital art he produces is on the verge of artificial, somehow gravitating between what could perhaps be called the new pointillism, and a robotic, software product. He pays special attention to the relationship between different stimuli – the visual and the audible, the tactile and the visual. These synesthetic mixtures were brought up in his audiovisual works, Strata projects, which he started making in 2008 and finished in 2011. Projects like Strata, and Topologies later on, provided Quayola with the opportunity to collaborate with prolific artists that belong to other art genres, such as Mira Calix and James Medcraft. Quayola employs computer-generated forms and digital techniques, but his interest does not end in the virtual sphere. He is also concerned with matter, progression, transformation, and all of these are explored both through the digital and the physical, as seen in his work from 2013 – Captive.
Naturally, if the artist was well familiar with one of the latest inventions of humanity 10 years ago, we certainly look forward to see what’s new to him now. The upcoming exhibition will display what its title promises – Iconographies, but not exactly what you’d expect if you didn’t read the artist’s name. Quayola uses straight lines, surfaces and their tessellations to interpret the images by Botticelli, Rubens, Guercino, Caravaggio. The method of presentation is a bit unexpected though, as the works will be shown as prints and aluminum engravings. The presentation obviously lingers between the digital and the analogue, giving the viewer the chance to see the material outcome of a digitally generated image – a re-interpretation of a re-interpretation. The exhibition is on view until March 5th, 2016, at NOME Gallery in Berlin.
Featured Images: Portrait of Quayola, source: http://www.ostrale.de/; Quayola – Strata #1, Audiovisual Installation, 2008; Quayola – Pleasant Places, Audiovisual Installation, 2015.