Matter and Memory, 2016-2017

Matter and Memory is a series of limited edition prints that serves both as a tribute to Henri Bergson’s eponymous essay (as well as to the influence of Bergsonian ontology on twentieth-century art and thought) and as a continuation of my research on the nature of living systems, which I have pursued since 2004 with the Quasi-Objects cycle.

By focusing on the processual/“vitalistic” aspect of nature—the reality of change and motion—this work offers an alternative to the dangers of reification. In this direction, Matter and Memory aims to investigate the space-time-matter relationship (the indeterminacy of matter) through the visualization of intermovemental states, and through the synchronous representation of continuous multiplicity: temporalized space – spatialized temporality.

The edition, printed with pigment-based inks on “Hahnemühle Photo Rag 308” paper, is limited to 3 + 1 AP.

Please note: the works featured on this page are a selection from the series. Images of all the works and further information about the project are available upon request.

Year : 2016-2017
Tech Specs : Archival Pigment-Based Inks, Hahnemühle Photo Rag 308 gsm, 40×28 cm, Edition of 3 + 1 AP
Copy & Credits : Lorenzo Oggiano

Soft Bodies, 2016-2017

A series of post-produced ‘high-poly’ modeling studies focusing on synth-organic, software-generated morphologies.

For these works, I opted for the Digital C-Type Print technique—known for its exceptional image quality, vibrant colors, and remarkable detail, ensuring consistency across prints—on “Fuji Crystal DP II” paper, which provides enhanced depth and sharpness with its smooth, glossy finish.

Please note: these studies will also lead to the creation of a sculpture in PLA 3D printed with a Delta WASP 60100 in 2018 (Untitled Sculpture – see the related page).

Year : 2016-17
Tech Specs : Digital C-Type Print on Fuji Crystal DP II, Edition of 3 + 1 AP (2 eds. sized 40×40 cm, 1 ed. sized 60×60 cm)
Copy & Credits : Lorenzo Oggiano

Environmental Monitoring System / evS+wM, 2016

evS (Enhanced Video Stills) and wM (Wireframe Models) are two sets of digital prints created as part of Environmental Monitoring System (E.M.S.), a 4-channel AV installation conceived as a simulation of a multi-camera monitoring system designed to document the real-time dynamics of four complex ecosystems.

The evS series consists of digital prints produced using archival pigment-based inks on “Hahnemühle FineArt Baryta 325 gsm” paper. Each print measures 24×13.5 cm and is available in a limited edition of 4 + 1 AP.
The wM series, on the other hand, features black-and-white plotted prints on 90 gsm uncoated paper, measuring 59.4×84.1 cm. Like the evS series, this collection is also produced in a limited edition of 4 + 1 AP.

Both series are integral components of the Environmental Monitoring System installation, reflecting different aspects of the project’s thematic exploration.
For further information on the concept of the installation and materials related to the video component, please refer to the previous page: Environmental Monitoring System / AV.

Year : 2016
Tech Specs : “evS”: Archival Pigment-Based Inks, Hahnemühle FineArt Baryta 325gsm, 24×13.5 cm, Edition of 4 + 1 AP / “wM”: BW Plotted Prints, 90gsm Uncoated Paper, 59.4×84.1 cm, Edition of 4 + 1 AP
Copy & Credits : Lorenzo Oggiano

Polymorphic Systems Studies 2, 2014-2015

“Polymorphism is the state of being made of many different elements, forms, kinds or individuals. In biology it refers to the occurrence of different forms, stages or types in individual organisms or in organisms of the same species.” (Michael Hensel)

Polymorphic Systems Studies 2 is the second series I have dedicated to the study of polymorphic systems; the first series was produced in 2012 (see the Polymorphic Systems Studies page).
Like the previous one, it is a series of photorealistic 3D rendering studies that explores and visualizes polymorphic synth-organisms, bio-tools, and bio-machines.
It consists of twelve fine art limited edition prints, each in an edition of 3 + 1 AP.
The paper chosen is the same as the one used for the first series, the remarkable “Canson Infinity Photo Highgloss Premium RC 315 gsm”.

Please note: the works featured on this page are a selection from the series. Images of all the works are available upon request.

Year : 2014-2015
Tech Specs : Archival Pigment-Based Inks, Canson Infinity Photo Highgloss Premium RC 315 gsm, Edition of 3 + 1 AP (2  eds. sized 44×40 cm, 1 ed. sized 66×60)
Copy & Credits : Lorenzo Oggiano

MOD513evS, 2012

Edited in 2012 for the exhibition Caratteri Ereditari e Mutazioni Genetiche (MAN Museo d’Arte Provincia di Nuoro, July 19 – September 2, 2012), MOD513evS is a series of sixteen enhanced video stills taken from the video Sound Generated Video Modules for Single Channel Output / MOD513 (for additional information, please refer to the related page: S.G.V.M.F.S.C.O., 2007).

The series was printed on “Hahnemühle Photo Rag 308 gsm” paper, renowned for its smooth, velvet-like texture and exceptional ability to render deep blacks and subtle tonal gradations.

Each print, individually numbered and hand-signed, is available exclusively as a complete set and cannot be sold separately.
Edition of 12.

Year : 2012
Tech Specs : Archival pigment-based inks, Hahnemühle Photo Rag 308 gsm, Sheets Size: 30×24 cm, Images Size: 20×15 cm, Edition of 12
Copy & Credits : Lorenzo Oggiano. Cover image: Courtesy “MAN – Museo Arte Contemporanea della Provincia di Nuoro”

Polymorphic Systems Studies, 2012

“Polymorphism is the state of being made of many different elements, forms, kinds or individuals. In biology it refers to the occurrence of different forms, stages or types in individual organisms or in organisms of the same species.” (Michael Hensel)

Polymorphic Systems Studies is a series of photorealistic 3D rendering studies that explores and visualizes polymorphic synth-organisms, bio-tools, and bio-machines. It consists of eight fine art limited edition prints, each in an edition of 3 + 1 AP.
The project expands and enhances a collection of images that I was commissioned to produce for publication in Viewpoint magazine (issue n. 30).

The “Canson Infinity Photo Highgloss Premium RC 315 gsm” paper was the one I selected for printing this series: a resin-coated paper exceptional for its highly glossy finish, outstanding color reproduction, superior durability, and rich blacks. It also delivers excellent contrast and sharp detail, making it ideal for vibrant, high-quality photographic prints.

Please note: the works featured on this page are a selection from the series. Images of all the works are available upon request.

Year : 2012
Tech Specs : Archival Pigment-Based Inks, Canson Infinity Photo Highgloss Premium RC 315 gsm, Edition of 3 + 1 AP (2  eds. sized 38×57 cm, 1 ed. sized 56×84)
Copy & Credits : Lorenzo Oggiano. Thanks to: Viewpoint magazine (Metropolitan Publishing BV / Amsterdam, Bianca Wendt Studio / London)

Quasi-Objects / C-Studies, 2010-2011

Quasi-Objects / C-Studies is a  series of eighteen prints that I created between 2010 and 2011 (limited edition of 3 + 1 AP).
The works were produced in various dimensions, ranging from a base of 40 cm to a base of 70 cm. All were printed using archival pigment-based inks on “Hahnemühle FineArt Baryta 325 gsm” paper, a high-quality, archival-grade paper ideal for color printing. Its smooth, glossy surface and barium sulfate coating provide vibrant colors, deep blacks, and exceptional detail. Made from 100% cotton, it ensures durability and is compatible with archival pigment-based inks, offering long-lasting, museum-quality prints.
For additional information regarding the series, dimensions, and availability of each piece, please do not hesitate to contact me.

Completed in 2013, the Quasi-Objects cycle consists of ten videos, video installations, and over one hundred prints and preparatory studies, all generated using 3D modeling and animation software.

Its title, borrowed from Nous n’avons jamais été modernes by Bruno Latour (which in turn refers to reflections advanced by Michel Serres in Le Parasite and Statues), represents my intention to make a precise reference to that ‘regime of ontological undecidability’ which, at least since the second half of the last century, has progressively and definitively reshaped the order of ‘men and things.’

Processing its synthetic-combinatory genesis as an operational advantage within a practice of organic (re)-design of organisms and ecosystems, the Quasi-Objects cycle intends to stimulate thought and dialogue about the ongoing relativization of natural forms of life as a result of techno-biological evolution. By subordinating the classical conception of representation (its optical-discursive apparatus) to an ‘aesthetic of process’—in which the sensory outcome emerges from a computational morphogenesis, through an an-optic procedure that actualizes it—the project aims to assert the opportunity to conceptualize the living in terms of a dynamic relationships between processes: a transient output of an operative practice independent of the material component.

As entities emerging in the absence of ontological referents, synthetic images shift attention from the ‘image’ itself to its embodied ‘knowledge quota,’ helping us to become aware of our rapidly evolving relationship with the alterity due to an increasingly intertwined technological apparatus with the bio-genetical one … moving toward a non-dialectical reconciliation with the ‘Alterity,’ beyond any stable representation that preserves the proliferation of the ‘Difference.’

Life is a real and autonomous process independent of any specific material manifestation, a generative grammar independent of the bearer (s)object.

Please note: the works featured on this page are a selection from the series. Images of all the works are available upon request.

Year : 2010-2011
Tech Specs : Archival Pigment-Based Inks, Hahnemühle FineArt Baryta 325 gsm, Edition of 3 + 1 AP (Various Dimensions)
Copy & Credits : Lorenzo Oggiano

Quasi-Objects / BW-Studies, 2008-2009

Quasi-Objects / C-Studies is a limited edition series of sixteen prints that I produced between 2008 and 2009.
The first fourteen prints are preparatory studies for the video Quasi-Objects / Cinematic Environment #7 (see the previous page), and were produced in a limited edition of 3 (2 editions sized 60×43 cm, 1 edition sized 70×50 cm).
The last two prints (titled BW-Study #301 and BW-Study #303) represent a development of the previous ones. They were also produced in a limited edition of 3, but in a larger format: two sizes (2 editions sized 120×85 cm, 1 edition sized 140×100 cm).
All works have been printed with archival pigment-based inks on “Hahnemühle FineArt Pearl 285 gsm” paper. The “Hahnemühle FineArt Pearl 285 gsm” paper is one of my favorites for black and white printing due to its outstanding qualities, such as its smooth pearlescent surface, excellent tonal range, deep blacks, and high archival stability.

Completed in 2013, the Quasi-Objects cycle consists of ten videos, video installations, and over one hundred prints and preparatory studies, all generated using 3D modeling and animation software.

Its title, borrowed from Nous n’avons jamais été modernes by Bruno Latour (which in turn refers to reflections advanced by Michel Serres in Le Parasite and Statues), represents my intention to make a precise reference to that ‘regime of ontological undecidability’ which, at least since the second half of the last century, has progressively and definitively reshaped the order of ‘men and things.’

Processing its synthetic-combinatory genesis as an operational advantage within a practice of organic (re)-design of organisms and ecosystems, the Quasi-Objects cycle intends to stimulate thought and dialogue about the ongoing relativization of natural forms of life as a result of techno-biological evolution. By subordinating the classical conception of representation (its optical-discursive apparatus) to an ‘aesthetic of process’—in which the sensory outcome emerges from a computational morphogenesis, through an an-optic procedure that actualizes it—the project aims to assert the opportunity to conceptualize the living in terms of a dynamic relationships between processes: a transient output of an operative practice independent of the material component.

As entities emerging in the absence of ontological referents, synthetic images shift attention from the ‘image’ itself to its embodied ‘knowledge quota,’ helping us to become aware of our rapidly evolving relationship with the alterity due to an increasingly intertwined technological apparatus with the bio-genetical one … moving toward a non-dialectical reconciliation with the ‘Alterity,’ beyond any stable representation that preserves the proliferation of the ‘Difference.’

Life is a real and autonomous process independent of any specific material manifestation, a generative grammar independent of the bearer (s)object.

Please note: the works featured on this page are a selection from the series. Images of all the works and further information about the project are available upon request.

Year : 2008
Tech Specs : Archival Pigment-Based Inks, Hahnemühle FineArt Pearl 285 gsm, Edition of 3 (Various Dimensions)
Copy & Credits : Lorenzo Oggiano

Rotoclones, 2008

Rotoclones is a series of ten archival fine art prints (each print image size: 24×24 cm) featuring 3D studies based on spline-generated models, only available as a set, housed in a custom-made, acid-free portfolio case.

The edition is limited to 7 + 1 AP, and the paper used is “Hahnemühle Photo Rag 308 gsm”. It was chosen for its smooth, matte finish that enhances the depth and contrast of black and white prints. Its robust weight ensures durability, while the velvety texture adds a premium tactile quality. The acid-free, 100% cotton composition guarantees long-term preservation.

Year : 2008
Tech Specs : Archival Pigment-Based Inks, Hahnemühle Photo Rag 308 gsm, 24×24 cm, Edition of 7 + 1 AP
Copy & Credits : Lorenzo Oggiano

Quasi-Objects / C-Studies, 2008

Quasi-Objects / C-Studies is a limited edition series of eight prints: preparatory studies for the video Quasi-Objects / Cinematic Environment #3 (see the next page).
The works, produced in an edition of 3 in two sizes (two at 40×40 cm and one at 60×60 cm), are Lambda prints mounted on 5mm Dibond panels.

Completed in 2013, the Quasi-Objects cycle consists of ten videos, video installations, and over one hundred prints and preparatory studies, all generated using 3D modeling and animation software.

Its title, borrowed from Nous n’avons jamais été modernes by Bruno Latour (which in turn refers to reflections advanced by Michel Serres in Le Parasite and Statues), represents my intention to make a precise reference to that ‘regime of ontological undecidability’ which, at least since the second half of the last century, has progressively and definitively reshaped the order of ‘men and things.’

Processing its synthetic-combinatory genesis as an operational advantage within a practice of organic (re)-design of organisms and ecosystems, the Quasi-Objects cycle intends to stimulate thought and dialogue about the ongoing relativization of natural forms of life as a result of techno-biological evolution. By subordinating the classical conception of representation (its optical-discursive apparatus) to an ‘aesthetic of process’—in which the sensory outcome emerges from a computational morphogenesis, through an an-optic procedure that actualizes it—the project aims to assert the opportunity to conceptualize the living in terms of a dynamic relationships between processes: a transient output of an operative practice independent of the material component.

As entities emerging in the absence of ontological referents, synthetic images shift attention from the ‘image’ itself to its embodied ‘knowledge quota,’ helping us to become aware of our rapidly evolving relationship with the alterity due to an increasingly intertwined technological apparatus with the bio-genetical one … moving toward a non-dialectical reconciliation with the ‘Alterity,’ beyond any stable representation that preserves the proliferation of the ‘Difference.’

Life is a real and autonomous process independent of any specific material manifestation, a generative grammar independent of the bearer (s)object.

Year : 2008
Tech Specs : Lambda Prints, Edition of 5 (3 eds. sized 70×50 cm – 2 eds. sized 140×100 cm)
Copy & Credits : Lorenzo Oggiano