OTHER WORKS
PROJECTIONS (series)
This series of works, focused on language, emphasizes terms that primarily reference technology while also engaging with universal concepts central to Skygolpe’s practice.
The static representation of the font conceptually contrasts with the impact and evocative depth of the projected terms, creating a dialogue between permanence and the ephemeral.
“AI AGENTS” refers to the phenomenon of AI agents, autonomous entities designed for various purposes, primarily within the corporate sphere, created to perform tasks independently. The projection of terms like “FEAR AND GREED INDEX” invites viewers to reflect on transformative systems, becoming a metaphor for human behaviors shaped by these mechanisms. Similarly, “REALITY VS REALITY” challenges perceptions of truth in a world mediated by technology.
The connection to financial terminology is explicit, yet it simultaneously serves as a conceptual catalyst, highlighting the transformation of social structures that characterize an increasingly frenetic and voracious era.
These phrases, written with light, bridge the gap between the material and the conceptual, projecting words that are simultaneously specific and universally resonant. The chosen terms act as triggers for contemplation, suggesting not only the mechanization of human processes but also their emotional and existential dimensions.
Installation view: FEARANDGREED INDEX, projection, projector, base, variable dimensions, 2024
Installation view: AI AGENTS, projection, projector, base, variable dimensions, 2024
Installation view: Projection (series), projection, projector, base, variable dimensions, 2024
Installation view: STORE OF VALUE, (detail), projection, projector, base, variable dimensions, 2024
Installation view: REALITY VS REALITY, projection, projector, base, variable dimensions, 2024
Installation view: FEARANDGREED INDEX, (detail), projection, projector, base, variable dimensions, 2024
Skygolpe's installation work is notably diverse, blending ready-made sculptures, screens, and digital pieces into a seamless and continuous reference framework. The themes of perception and contradiction once again take center stage in this more experimental collection.
Often, the use of LCD screens hints at a realm beyond the physical confines of the gallery, expanding the installations into external references, while metal structures support and divide the gallery space to define focal areas. Other mediums include artificial intelligence, which is used to produce entirely "synthetic" video works and photographs from prompts, bypassing traditional photography methods.
In the narrative woven through Skygolpe's works, layers of meaning fluctuate between the visible and the invisible, the authentic and the synthetic, fostering an ongoing dialogue between reality and perception. The intersection of physical and digital realms is further expanded as augmented and virtual reality are employed to break down the boundaries of the exhibition space even more.
These tools are not merely technological additions but are catalysts for new forms of interaction and immersion, encouraging viewers to transcend their passive roles and become co-creators of the artistic experience.
Installation view: untitled, ready made, mixed media, 2023
Installation view: pretending to understand, lcd, steel structure, 2023
VISUAL CONSTRUCTS (series)
This configuration seems to comment on the very act of observation as a performative gesture, transforming the gallery itself into a stage where the viewer becomes part of the exhibit, unwittingly performing under the constant gaze of electronic eyes.
This presentation evokes a multiplicity of interpretations concerning the interplay between surveillance and spectatorship, and the possibility of expanding the gallery space beyond its spatial boundaries to merge with the virtual ones.
The arrangement might reflect on the ubiquitous nature of surveillance in contemporary society, an omnipresent spectator silently recording every movement within the ambit of its lens. The viewers, devoid of their conventional context, are repurposed almost like design objects, their functional form taking on new meaning within the gallery's confines, posing silent queries about the nature of art and observation.
Installation view: visual construct, oculus, and pvc cables, 2023
visual construct (detail), oculus, and pvc cables, 2023
AI - MORPHIC TECHNOLOGIES (series)
This photographic series emanates from an assemblage of technological components, which, through the power of artificial intelligence, are hybridized to give birth to images that oscillate between the depiction of a dysfunctional object and its form.
Intriguingly, the subjects within these images do not truly exist; they are entirely generated through the capabilities of AI.
The project’s intent is to delve into the paradoxes and potentials of artificial intelligence in technological design, examining the algorithmic processes that culminate in the creation of form, momentarily revealing glimpses and improbabilities of these non-existent entities.
The objective of this endeavor is to unveil the latent and unanticipated repercussions of employing AI processes in the development of installations, evoking a digital reinterpretation of the ready-made.
Through these images, the intricate mechanics underpinning the genesis of shapes are laid bare, as the project endeavors to discern insights into the visualization of these fully AI-generated, non-existent objects.
By incorporating a diverse spectrum of materials, the project aims to showcase the versatility of algorithmic creation, merging technological components with unconventional or discarded materials such as plastic bags, plastic elements, and other generative forms of ambiguous practical utility.
ai - morphic technologies, photographic print (
framed), 2023
ai - morphic technologies, photographic print (
framed), 2023
THE ART OF PRINTING (series)
The artwork consists of a collection of printers that photocopy banknotes of various currencies, creating piles of fictional money. The artist's true intention is not so much to produce counterfeit money, but rather to question the meaning of money itself and the ways in which the concept of currency is represented, through which value is created and distributed in a decentralized economy.
In fact, if we observe the work closely, we notice that the photocopied banknotes coming out of the printers arranged in the space are not exactly identical to the originals: they are black and white, there are printing defects, stains, smudges. In other words, the artist intervenes by borrowing the icon of printed paper currency, highlighting the imperfection and uncertainty of monetary value, producing an ideal "multiplication."
Who or what creates value? Is it the central banking system, which controls the issuance of currency, that establishes the value itself, or is it the market, with its demand and supply, that determines it? And how can value be created in a decentralized economy, where money is replaced by cryptocurrencies and transactions occur anonymously and distributedly? The artwork does not answer any of these questions.
Rather, it triggers a feedback loop mechanism in which the abundance of "value" produced contrasts with the actual and impossible exchangeability of banknotes. In a sense, the work is an autonomous production of value, a creation of value as a social and cultural construction, which evolves and transforms over time based on the artist's needs and dynamics. The printers, in fact, are on 24/24 and produce photocopied banknotes continuously for 15 days (the same duration as the exhibition in which they are presented), using the electrical energy of the museum/foundation or gallery that hosts the artwork.
The artwork consists of a collection of printers that photocopy banknotes of various currencies, creating piles of fictional money. The artist's true intention is not so much to produce counterfeit money, but rather to question the meaning of money itself and the ways in which the concept of currency is represented, through which value is created and distributed in a decentralized economy.
In fact, if we observe the work closely, we notice that the photocopied banknotes coming out of the printers arranged in the space are not exactly identical to the originals: they are black and white, there are printing defects, stains, smudges. In other words, the artist intervenes by borrowing the icon of printed paper currency, highlighting the imperfection and uncertainty of monetary value, producing an ideal "multiplication."
Who or what creates value? Is it the central banking system, which controls the issuance of currency, that establishes the value itself, or is it the market, with its demand and supply, that determines it? And how can value be created in a decentralized economy, where money is replaced by cryptocurrencies and transactions occur anonymously and distributedly? The artwork does not answer any of these questions.
Rather, it triggers a feedback loop mechanism in which the abundance of "value" produced contrasts with the actual and impossible exchangeability of banknotes. In a sense, the work is an autonomous production of value, a creation of value as a social and cultural construction, which evolves and transforms over time based on the artist's needs and dynamics. The printers, in fact, are on 24/24 and produce photocopied banknotes continuously for 15 days (the same duration as the exhibition in which they are presented), using the electrical energy of the museum/foundation or gallery that hosts the artwork.
untitled, the art of printing (series), readymade, 2023
installation view: the art of printing (series), readymade, 2023
installation view: the art of printing (series), readymade, 2023
installation view: the art of printing (series), readymade, 2023
installation view: the art of printing (series), readymade, 2023
EMBODIED BROWSER (series)
This series consists of modular industrial sculptures, made from UV-printed wood featuring images of web pages. These sculptures serve as a commentary on the intangibility of the digital world, aiming to materialize the ephemeral nature of our online experiences. This tangible transformation challenges traditional sculpture concepts by integrating elements of digital culture into the physical realm. The objects act as placeholders, embodying the digital content they display in a spatial context, prompting reflections on the transposition of virtual data into our concrete world.
Furthermore, these objects question the role of sculpture in the information technology era, exploring the evolving relationship between the viewer and the artwork. The industrial modules, repurposed into art, reflect contemporary discussions on the convergence of art, technology, and commerce. By adopting the visual language of the browser's interface, the art emphasizes the omnipresence of the digital environment, hinting at its influence on our perception and understanding of the world.
The physical presence of these sculptures, paradoxically representing the non-physical, initiates a dialogue between the tangible and intangible aspects of our reality. What does it mean to give form and permanence to something inherently formless and transient? This sculptural approach to the digital experience offers a moment of contemplation, a space to ponder the dichotomy between the longevity of traditional art forms and the fleeting nature of digital interactions.
installation view:embodied browser (series), wood, mobile industrial structures, and uv printing, 2023
installation view:embodied browser (series), wood, mobile industrial structures, projection, and uv printing, 2023
installation view:embodied browser (series), wood, mobile industrial structures, projection, and uv printing, 2023
