F E M I N A is a double screen audio-visual performance, in which echoes of polyphonic choirs are layered on the composition of original electronic music, all the while samples of Renaissance paintings are deconstructed by transforming them into an evolving stream of images responsive to sound.

The project explores the idea of grace and, more importantly, the eye that defines it during the Renaissance, that of the painters, who accorded it par excellence to the feminine figure.

Title: F E M I N A

Format: A/V Performance | 2ch HD projection, 4ch sound

Year: 2023

Duration: 40’

F E M I N A


Format: A/V Performance | 2ch HD projection, 4ch sound

Year: 2023

Duration: 40’

F E M I N A 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 on some particular artworks of the Italian tradition, the aim was to establish a connection between the analytical and creative potential of the Digital, to reconcile an exchange of expressiveness between past and present.


During the performance 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.

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.

F E M I N A is a double screen audio-visual performance, in which echoes of polyphonic choirs are layered on the composition of original electronic music, all the while samples of Renaissance paintings are deconstructed by transforming them into an evolving stream of images responsive to sound.

The project explores the idea of grace and, more importantly, the eye that defines it during the Renaissance, that of the painters, who accorded it par excellence to the feminine figure. During the performance 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.

High-resolution photographs of a number of female portraits by Piero della Francesca, Botticelli, Antonio Del Pollaiolo, Domenico Ghirlandaio, Leonardo da Vinci, and Bronzino served as source material, as well as the paintings from Botticelli’s cycle dedicated to the figure of Venus (Primavera, The Birth of Venus, Venus and Mars).

The main movement of the performance is centered on the latter paintings. The sound part was borrowed from the rich Italian tradition of polyphonic madrigals.


The choice settled on these masterpieces of the Renaissance as emblematic representatives for the transit of the classical ancient model to posterity.

The idea of using the archetypal figure of grace for the development of digital figuration techniques came from the belief that legacy of classical antiquity continues to be a fruitful expressive tool, one that can be repurposed by culture and practices from different time and place.

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.