Body Latitudes
From Canova to Motion Capture

    Sculpture played a key role in neoclassical aesthetics, as it represented the major source of fulfilment of the Greek ideal of male beauty. In the XVII century, marble sculptural practice involved the use of full-sized preliminary gypsum models, onto which bronze nails were applied to identify bony landmarks of the body. Such nails were used to guide the subsequent shaping of the marble block. In a similar manner, motion capture makes use of specific markers, attached to the skin of actors, to record the 3D motion of body segments and translate the movement into digital characters. Although both techniques are crucial in the process of making, they are not visible in the final artwork.

Gandini Collection  —  Modena

    This series explores the process of volume mapping, which is now made visible and appreciated as an aesthetic quality. Set in a neutral non-space, where only colour and lines add depth to the images, the models showcase the bare bones of analytical volume studies and the undercarriage of contemporary cinema.

    While motion-capture is usually a means to an end, providing basic information for later studies, here the process is stripped from necessity and it is charged with its own sensual beauty. The images stand as a synthesis of the sought-after impersonality and coolness of classical sculpture and the cinematic qualities of advanced digital productions.