In a backstage set-up, a stunt-designer re-enacts stereotypical behaviors in interaction with everyday objects. Recorded by a video camera, the movements are tracked and sent to different editing/compositing software in order to be applied to 3dmodels. Transformed in data, the movements are the raw material of new entities creation. I call them the ‘.mocap’.

The design of an object is always driving a movement: in this process, this same movement will in turn drive the design of other objects. Once materialized, the object is tracked again, reaching in this way another stage of transformation. And so on.

Fragments of the real compressed in a motion capture format. They are 3D-printed images of everyday objects transformed by the tracking data of the movement of their use. They are propositions for a new materiality.




Life.vfx: Design as compositing


First, it is about the eye.

About objects as millions of images, creating surfaces in multi-directional ways that appear to the eyes in their movement in a space.

About images as objects made of matter and energy. About seeing as a fundamental act of perception that is given to us, but also as a learning process, that we train and adapt to different media and formats through which the world is seen.


The impressive rise of digital images invading our surroundings produces a computed environment that we never experienced before. Digital cameras and screens, both ironically based on eyes’ weaknesses, expand and transform through their representations the consciousness of the world. This situation is just at the bottom of a curve that will accelerate and increase exponentially. A sudden shift, in comparison to humanity’s evolution, that opens the door to a dichotomy of thinking, between pessimistic scenarios of the future and the development of a hyper-technological market.

In our lifetime, we see as much quantity of digital images as material ones. The immediacy of information flux tends to hide the gap between the recorded reality and the new reality of its representation. It makes the mediation invisible, and by this way distorts and dramatizes the reality of a moment. Nevertheless, this mediation takes place and time through which images undergo a process of translations, and possible manipulations.

One question remains: What lies under the skin of moving-images?


I see life as a VFX movie, in wich each entity, constantly recorded, become moving images living for and transformed by the camera eyes. Somehow, our material surroundings are nothing more than the non-objects of a cinema studio: mockup with many digital potential lives, waiting for a virtual augmentation.

Moving images are so deeply intertwined with the material ones, that the way to approach their making and use separately appears obsolete. The awkwardness of our times is felt because we keep on designing objects and spaces as navigation between two different worlds while we are experiencing just one.

Finally, design is all about images and seduction, a smart combination of visual effects. Transformed by the screen condition, images are objects, and objects are images. Uploaded, reloaded, compressed, manipulated, they get alterated. They thus need to change their nature into a fluid state of being. A state capable to endure perpetual transition.

John Berger said that seeing comes before words, that “every image embodies a way of seeing”. These objects are images that embody my fascination for the enigma of sight.