The Italian born artist Quayola uses contemporary digital technology to tackle classic aesthetics and the universal rules for beauty and perfection. Until now he has mostly created his studies in the form of projections, installations, photography and multimedia adaptations.
However, for The Sculpture Factory, which he is developing especially for MU, he is entering the realm of sculpture. The basic material is provided by none other than his great example Michelangelo: the unfinished series of four ‘Prigioni’, or ‘Captives’, made between 1513– 1534.
Quayola was introduced to these images when, as a boy, he visited the Academia in Florence with his mother. By using these sculptures specifically as his inspiration, he is paying homage to one of the greatest sculptors in art history. But what is even more important to him is his focus on the process in which the material is shaped. And he is showing all: his studio, his sources, the software he has developed himself and the creativity which allows something new to arise from a work of art that has been around for centuries. In this creative cycle, the hand of the master has been largely replaced by the computer. But the artist is still at the controls.
For Quayola, the subject of The Sculpture Factory is not the final sculpture, but the material. A material which is constantly mutating into endless geometrical shapes, to set eventually as a series of sculptures. From simplicity to complexity, from sharp to smooth, from abstract to figurative. The Sculpture Factory as a metaphor for the complexity of life.