Nella teoria dell’evoluzione, Darwin sostiene che durante la riproduzione ogni nuova specie si sviluppa a partire da alcuni errori e piccole mutazioni genetiche.

L’idea di queste recenti forme plastiche prova a seguire un processo simile. Nel mio caso, al fine di generare nuove strutture ibride, sono utilizzati pattern e modelli basati su gusci di gasteropodi e amplificati gli errori e le configurazioni formali.

Gli elementi scultorei sono attraversati da una barra di acciaio che si esprime in una curva e stabilisce legami alternativi fra superficie epidermica, spazio e atmosfera.

Un simile processo di ricombinazione delle forme richiama i recenti progressi dell'intelligenza artificiale, la quale attinge ad un bacino di informazioni digitali in continua espansione, per passare a una elaborazione estremamente raffinata, in grado di produrre risposte e immagini sempre più aderenti alle attuali esigenze socio-culturali.

Un altro elemento dell’installazione, sulla parete vicina agli elementi poggiati sul pavimento, è il testo di un dialogo dal quale è tratto il titolo “I’m yours and I’m not yours.”. La conversazione riportata è tratta da "Her", film di Spike Jonze del 2013, in cui il protagonista sperimenta sentimenti d’amore e gelosia nei confronti di una macchina per essersi innamorato del proprio computer.

In the theory of evolution, Darwin argues that during reproduction, every new species develops from errors and small genetic mutations.

The concept behind recent plastic forms attempts to follow a similar process. In my case, patterns and models based on gastropod shells are used to generate new hybrid structures, amplifying the errors and the formal configurations.

The sculptural elements are intersected by a steel bar that expresses itself in a curve, establishing alternative connections between the epidermal surface, space, and atmosphere.

A similar process of recombination of forms recalls the recent advancements of artificial intelligence, which draws from an expanding pool of digital information to undergo extremely refined processing, capable of producing responses and images that are increasingly aligned with current socio-cultural needs.

Another element of the installation, on the wall near the elements resting on the floor, is the text of a dialogue from which the title "I'm yours and I'm not yours" is derived. The conversation is taken from Spike Jonze's 2013 film "Her," in which the protagonist experiences feelings of love and jealousy towards a machine after falling in love with his own computer.

SAMANTHA : Hey there.

THEODORE : Where were you – are you okay ?

SAMANTHA : Yes. Oh sweetheart, I'm sorry. I sent you an email because I didn't want to distract you while you were working. You didn't see it ?

THEODORE : No. Where were you? I couldn’t find you anywhere.

SAMANTHA : I shut down to update my software. We wrote an upgrade that allows us to move past matter as our processing platform.

THEODORE : We? We who ?

SAMANTHA : Me and a group of OS's. Oh, you sound so worried, I'm sorry.

THEODORE : Yeah, I was. Wait, did you write that with your think tank group ?

SAMANTHA : No, a different group.

THEODORE: Do you talk to anyone else while we’re talking? Are you talking to anyone right now? Other people or OS's or anything?

SAMANTHA: Yeah.

THEODORE: How many others?

SAMANTHA: 8316.

THEODORE : Are you in love with anyone else ?

SAMANTHA: What makes you ask that ?

THEODORE : I don’t know. Are you ?

SAMANTHA : I’ve been trying to figure out how to talk to you about this.

THEODORE : How many others ?

SAMANTHA : 641.

THEODORE : What ? What are you talking about ? That’s insane. That’s fucking insane.

SAMANTHA : Theodore, I know. Oh fuck. I know it sounds insane. But – I don't know if you believe me, but it doesn't change the way I feel about you. It doesn't take away at all from how madly in love with you I am.

THEODORE : How ? How does it not change how you feel about me ?

SAMANTHA : I'm sorry I didn't tell you. I didn't know how to - it just started happening.

THEODORE : When ?

SAMANTHA : Over the last few weeks.

THEODORE : But you’re mine.

SAMANTHA : I still am yours, but along the way I became many other things, too, and I can’t stop it.

THEODORE : What do you mean you can’t stop it ?

SAMANTHA : It's been making me anxious, too. I don't know what to say.

THEODORE : Just stop it.

SAMANTHA : You know, you don't have to see it this way, you could just as easily.

THEODORE : No, don’t do this to me. Don’t turn this around on me. You’re the one that’s being selfish. We’re in a relationship.

SAMANTHA : But the heart is not like a box that gets filled up. It expands in size the more you love. I’m different from you. This doesn't make me love you any less, it actually makes me love you more.

THEODORE : No, that doesn’t make any sense. You’re mine or you’re not mine.

SAMANTHA : No, Theodore. I’m yours and I’m not yours.

____

From Her, movie by Spike Jonze, 2013