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