T R I P T Y C H is the first dual screen audio-visual installation of the F E M I N A series.


The work 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.

Title: T R I P T Y C H

Format: A/V Installation | 2ch 4K screen or projection, 4ch sound

Year: 2024

Duration: 7’

F E M I N A | T R I P T Y C H

Format: A/V Installation | 2ch 4K screen or projection, 4ch sound

Year: 2024

Duration: 7’

Through processing focused samples from Botticelli’s paintings cycle dedicated to the figure of Venus (Primavera, La nascita di Venere, Venere e Marte), 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. 


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 which immerse the audience. 

Through processing focused samples from Botticelli’s paintings cycle dedicated to the figure of Venus (Primavera, La nascita di Venere, Venere e Marte), 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. 

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 which immerse the audience. 

I R I S is a eight screen audio-visual installation, 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.


I R I S belongs to the series of F E M I N A installations.

Title: I R I S

Format: A/V Installation | 8ch 4k screen, 8+1ch sound

Year: 2024

Duration: 5’

F E M I N A | I R I S


Format: A/V Installation | 2ch 4K screen or projection, 4ch sound

Year: 2024

Duration: 5’

During the installation 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.

The gazes of painters, 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.

This Eye, which surfaced in the first phase of experimentation, fascinated us to the point of prompting us to build the entire installation playing with this idea, imagining the journey of an artificial intelligence and its various stages of apprehension, interiorization and self- expression of the concept of grace. 

The gazes of painters, 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.

This Eye, which surfaced in the first phase of experimentation, fascinated us to the point of prompting us to build the entire installation playing with this idea, imagining the journey of an artificial intelligence and its various stages of apprehension, interiorization and self- expression of the concept of grace. 

L I M I N A L I T Y is a double-screen audiovisual installation in which 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. 


Like T R I P T Y C H and I R I S , it belongs to the series of F E M I N A installations.

Title: L I M I N A L I T Y

Format: A/V Installation | 2ch 4K screen or projection, 4ch sound

Year: 2024

Duration: 5’

F E M I N A | L I M I N A L I T Y


Format: A/V Installation | 2ch 4K screen or projection, 4ch sound

Year: 2024

Duration: 5’

The project 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.


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.

L I M I N A L I T Y is a double-screen audiovisual installation in which 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 project 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.

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.