Michelangelo’s unfinished sculpture series Prigioni (1513-1534) was an early reference point for Quayola’s new exhibition Captives, which see’s him recreate his own unfinished sculptures in both traditional and digital format.
The central theme of Captives is Michelangelo’s “non-finito” technique – the act of not finishing something. This is presented as a digital manifestation of large scale sculptures and digital video works.
The sculptural works were created using advanced robotic technology – a fascinating presentation of the binary between new and traditional sculpture. After being programmed with up to 1.2 million intricate lines of data instructions, robots then milled the sculptures using custom built software commands.
The video artwork on display in conjunction with the physical works offers insight into the creation process of the sculptures. Exposing the intricate robotics and creative software procedures used to create the sculptures, Captives highlights the increasing economic viability of using robotics in artistic practice rather than just for industrial purposes.
As an exhibition defined by mathematical functions and processes, Captives offers a digitally sophisticated, contemporary homage to Michelangelo and sculpture as one of the earliest forms of art.
The exhibition marks Quayola’s first foray in producing physical pieces as opposed to screen based artwork. On Sedition, Quayola integrates dramatically lit plants with computer-generated material that explores the ambiguity of realism in the digital realm for his Natures Collection.
Captives is currently exhibiting at MU Strijp Gallery in Eindhoven until 22nd December 2013.