March 28 – QUAYOLA

Born in Italy and currently living in London, Quayola is considered to be at the forefront of digital media. His practice was born out of his long-standing interest in audio and visual music, but he has since expanded his practice into the realm of photography, CGI and performance. For his first solo show on the West Coast he has created a large-scale, fully-immersive environment that will feature three distinct bodies of work: Typologies, Strata and Nature (which are comprised of 12 videos in total). At the center of his practice is a deep interest in the inherent structures found within Classical traditions ie, Renaissance architecture, well-known Rococo paintings and nature itself, and how those forms relate to digital mediums. By using a combination of original photography and software programs, he is able to identify and animate those inherent structures, which become the real protagonists of his extraordinary short films. The result is not only a celebration of the outright beauty of classical aesthetics but how they relate to digital artists through the use of mathematics.

Drawing his influence from painters Wassily Kandinsky and Oscar Fischinger, Quayola creates composed and real‐time generative sound visualizations resulting in huge and dynamic animated projections with impactful original sound.

Quayola’s work has been exhibited at the Venice Biennale, the Victoria & Albert Museum (London), the Museum of Contemporary Art (Barcelona), the Royal Albert Hall (London), Gaite Lyrique (Paris), the Palais des Beaux Arts (Lille), the Yota Space (St. Petersburg), MIS (Sao Paulo) Casa Franca (Rio de Janeiro), MISZ (Moscow) and many more.

Davide Quayola is here from London this week to open a solo show at YoungProjects – a contemporary gallery for the moving image.!project-space

Olympic Project – Motionographer article:

Quayola’s work has been exhibited at the Venice Biennale; Victoria & Albert Museum, London; British Film Institute, London; Royal Albert Hall, London; Gaite Lyrique, Paris; Church of Saint Eustache, Paris; Forum des Image, Paris; Grand Theatre, Bordeaux; Palais des Beaux Arts, Lille; Empac Centre, New York; Yota Space, St. Petersburg; MIS, Sao Paulo; Casa Franca, Rio de Janeiro; BAC, Geneva; Sonar Festival, Barcelona; Elekra Festival, Montreal and Clermont Ferrand Film Festival.

Quayola and Jarrett Smith (Touch Designer)


37 comments on “March 28 – QUAYOLA

  1. chenhuang says:

    It is very impressive to see QUAYOLA’s work.
    He is kind of nice, kind of emotional, kind of speechless, he is a true artist enjoying what he is doing right now.

    It is my first time seeing his experimentary music animations…(The one projected on 3 screens and there is a woman cellist playing in front, and The one after that) I like the second one most.
    The rytheme is very strong and following the music exactly, it is such a different experience than regular animation.

    I also feel good about he managed to do architecture, animation, dj, graphic design and installation work. It tells me that we should extend our interesting stuff and take time to focus on these, it will finally have good result comes out.

  2. There is something hypnotic about the work of Quayola. Seeing those interpretations of athletic movement left me without the necessary words to express what that work was producing on me. A mix between awe and frustration, a sudden need to not look anymore but a desire to touch the “things”. I don’t know.

    I do admire people who manage to produce that level of abstraction in their work and I consider a bonus that they explain their process, not because I think good abstraction needs to be explained, but because its useful for minds like mine, as tools to shake some of the ballast and tics of my own creative process.

    I actually didn’t felt satisfied with his answer for only choosing a flat screen to project his work under the notion that anything different from a screen would cause a distraction. I think there is nothing more distracting than three screens hanging from a ceiling, so I couldn’t understand that he wasn’t exploring other surfaces. I respect that commitment as a personal choice, but I felt something lacking in the transition between Strata and Matter. Two very different starting points ended producing a somewhat similar result. I don’t think this is wrong or right, but I would like to see him push the format in that sense. Maybe something good would come out of it.

    Overall, it was a very good seminar that made me question many things about my current work. Not to follow Quayola’s path but to try and push some of my own notions to see what comes out.

  3. Ruthie says:

    I was really interested in how Quayola described finding inspiration in the detachment from reality and what things seem to be and then to go beyond that to find similar aesthetics in specific, often very different things. Constructed around dialogues and relationships, his artwork is very meditative and makes me feel a satisfying sense of balance when I watch it, most effectively in the Strata and Matter series.

    His approach to abstraction and his emphasis on structure remind me of one of my favorites, Sol LeWitt, who also made really beautiful and elegant artwork with a strong set of rules. As a creative I think one of the most important things to figure out is what your rules are. I also really appreciate the level of analysis that Quayola invests beforehand, it really pays off.

    With his work that delves deeper into music and sound design, I felt a little less engaged by the relationships between the shapes and colors, but maybe with the stronger role of music it is just a different experience with different relationships. I paid much more attention to the variety and length of the sounds in these pieces, for example.

    Throughout all his pieces, I love that Quayola makes things feel like they are alive and breathing beyond what is realistic and natural. His studies in movement, especially clear with the elegant simplicity of his flower study, sculpt out the space of movement far beyond what we see, what is actually happening. It is like watching real life without any figurative objects, an impossibility which is an uncanny and surreal experience. I loved it. Can’t wait to hear/see his performance here next spring.

  4. Jovannananana says:

    Italian-born artist Quayola presented a series of video installations, short films, and commissioned pieces. His original interest in architecture and engineering lead him to produce a collection of audio-visual compositions that decontextualize and reinterpreted the natural relationships of real objects. His Strata series deconstructed historical icons into a sequence of video installations which play in context to their original location. Throughout the body of work presented, I enjoyed how Quayola blurs the figurative and abstract by reinterpreting the structure of preexisting objects.

  5. Tristan Dyer says:

    Going into seminar last night I wasn’t too familiar with Quayola’s work. I had seen Forms on Motionographer and thought it was interesting. He has a great ability to take an approach and work it as much as it will work without getting into gimmick range. Sometimes an artist will go as far as they are comfortable with and just say “oh, well that’s my art.” I have been guilty of this in the past also, but Quayola worked simple forms and ideas and took them to where they were most pleasing, which with some of the work required a high level of technical ability. I would have liked to hear a little bit more about his process for commercial work and the way he was able to make a career out of this kind of work but the notion of this question didn’t come to me until this morning.

  6. Stunning. That’s what I thought when Quayola’s work showed up on the screen. Something about the cleanness, complex simplicity, and elegance brought me back to my years in architecture as an undergrad. I don’t think it’s a coincidence that he has a strong appreciation of the art form and that many of it’s principles show up in the work. Particularly what’s interesting is how he works with parametric animation design and how parametric workflows are some of the leading edge design principles in the field of architecture today. A lot of my work from that time favored a similar aesthetic. I greatly appreciate his opinions and design choices and I feel like his deliberateness has created a very strong, clear visual perspective that reveals itself consistently. I felt that with the CG work and with the after effects projects he demoed near the end. This just the bit of creative refreshment I needed.

    • uscanimation says:

      Me too – so refreshing to see an abstractionist working in a refined and inventive way.
      Davide will be back next spring for Visions and Voices – there will be opportunities to connect and collaborate.

  7. Ryan Gillis says:

    I’m shocked by Quayola’s success in the fine art world at such a young age. The man tapped into a rich vein when he started combining classic artwork with brand new art making methods. I feel like the art world is always trying desperately to keep it’s old work relevant, and Quayola’s experiments might have found a way to do that.
    I loved hearing him talk about detaching images and objects from their connotations and converting them into data. In that way they can all be reinterpreted almost formally. The work he was showing us all looked like very exciting, very fun experiments, but I was waiting for them to be pushed beyond just experiments,
    When he showed us his Strata series, I wasn’t very engaged. They were excellently crafted pieces, but they felt one-note to me. Experiments that didn’t really explore new territory from project to project.
    It wasn’t until The Matter series that I thought there was a huge leap in terms of complexity and effectiveness. It was really beautiful. I love that Quayola was working systemically rather than symbolically. His films are visual explorations not messages. It’s the fine art I tend to prefer. I think work like that actually provokes more varied and exciting interpretation. Andrew said it was like hinting at a hidden world within these paintings.

    I think Quayola is on to something really interesting, and I’m definitely going to follow his career and see how these explorations continue to evolve.

  8. megatoe says:

    Quayola’s work is infused with fine art and modern music, which is very new and refreshing. I love the way he expressed his ideas in such a simplistic yet sophisticated way – especially in Partitura, which is absolutely beautiful. The way he interprets life and movement is also very interesting, such as in the Olympic Project. It really conveyed the complex movement of an athlete, simply in lines. I have always found it challenging to communicate my idea in a simple way, and Quayola is definitely a master on that.

    I am also impressed by the variety of media that he was able to present his work in, for example, projection, installation, and animation. Having his work presented across multiple media platforms not only pushes animation to more than just an audiovisual experience, but also creates a physical connection with the audience (like his PTA live audio-visual performance).

    Quayola’s Strata project reminded me of another artist, Albin Holmqvist, who also uses math and systems (Fibonacci’s geometric shapes) as a platform to create a motion graphic journey. Here is his work:

    • Candace Reckinger says:

      Thank you for sharing that link! I very much enjoyed watching Albin Holmqvist’s work. It immediately brought to mind seeing Canadienne artist Michael Snow’s seminal avantgarde film “Wavelength” (1967). Michael Snow continues to work in new media doing installation and I think, even performance. You might take a look.

  9. Cecilia De Jesus says:

    I was very impressed by Quayola’s beautiful and vibrant work. I found it interesting that he has visual themes that he has carried throughout his work. For instance, those little shards of colors from his work dealing with religious frescoes can be found in his visual music pieces as well. I thought it was interesting to see how his works are like variations on a theme.

    I really enjoyed his dynamic works involving the athletes. I thought they were so full of life and abstracted in just the right amount.

    His visual music pieces that react to sound were great too, though I wish they were a bit more varied. I understand he likes setting up boundaries or limitations (based on the system of coding in his program) to work within. However, I felt like I really wanted the pieces to break out of their constant horizontal structure. I think if he sets up this rule within his piece of having this horizontal movement and then breaks it, it would be effective.

  10. Larry Lai says:

    Quayola blends music and vision so perfectly. His works are all abstract patterns which reflect the rhythm of music. We don’t need to have an accurate answer of what the sequences try to mean, but to visualize what we heard and imagined. He pointed out that the images and the music shouldn’t match “literally.” Instead, a good audiovisual performance will showcase the whole emotion or tension to the audience; that is to say, it will leave “space” for the viewer to breathe. That is the same point of composing an image when we lay out a shot. Creation needs flexibility! What we want to see is how image and music dance together so elegantly, not so mathematically.

  11. Louis Morton says:

    This was a very educational seminar for me in preparing to work on thesis. I really enjoyed hearing Quayola speak about his method of working in systems. For me, sometimes at the start of a project the overabundance of ideas can become so overwhelming that picking just one sets the project back. By working with systems one can work on many elements at the same time, and as they become compartmentalized they can start to work together.
    For thesis I’m planning to experiment with visualizing sounds in a unique way. I was mesmerized by Qualola’s later CG work where he does just that. These pieces seem like the next logical step in the visual music evolution after the pioneering work of McLaren and Fischinger. I found this work ,along with the Forms piece, to be much more gripping than the 2D pieces (though still very well done), which is odd since I usually prefer the aesthetic of 2D over 3D. I think it must be the uniqueness in moving through 3D space in an abstract way. The lighting, color and textures made me forget that it was CG and instead it became something totally alien and fascinating. I can’t wait to see what Quayola creates next and look forward to seeing him at next years Visions and Voices.

  12. Yang Liu says:

    I learned a lot from Qualola’s works, and he has great imagination and ability to visualize the abstract idea on screen. I especially love the visual music piece where he simply mirrored the video shot on the train. I remember I’ve seen it in visual music class and was very impressed by his creativity. It’s a simple idea, but I think he can see things in a very unique point of view. Visual music is so hard for me, as it requires a great sense of vision and understanding of musical visualization. When the graphic gets abstract, I always felt impossible to control. Qualola is the one who just seems to know all that and how to put everything together.
    I was also impressed by his ability to bring high-end technology to abstraction. The piece where he used the renaissance paintings as a reference was also intriguing, and I love his idea of re-interpreting these artworks, especially making them connected to the 3D space.

  13. Dan Wilson says:

    I was engaged from the start by Quayola’s London-Italian accent. Then he started talking about architecture, which is something that has inspired me for a very long time. I, too, considered formally studying architecture, and several of my current classmates actually went through with it. I think there’s something attractive about the clean design, precision, and order in architecture. Like animation and filmmaking in general, architecture is an act of creation in itself (the blueprint) that leads to more creation (the actual structure)… I want to create films that inspire other creation – fans making art and stories taking place in a world I’ve opened up.

    Quayola’s deconstruction of images and structures such as sculptures is a direction I think we’re heading towards and need to go in animation and games. I want to deconstruct what makes animation work well and exploit that as simply as possible. Realism has its place, but we often need to consider what is really necessary to tell the story or show off the characters. When I think of games in the past four years or so, I think of “stylized” and “indie” games that deconstruct what’s really fun and focus on that.

  14. Lisa Chung says:

    One thing that I really identify with Quayola was his interest in developing systems with boundaries. More than often, my most interesting projects have been the ones where resources and time were limited. I believe working with boundaries naturally creates structure. As Mike quoted from Michael Tilson Thomas, it’s the structure that makes the work interesting, not the notes. The boundaries also allow you to discover things you otherwise would not have found because it forces you to look at it 100 different ways. In fact, I had the pleasure of SAing for Christine’s Animation 101 course last semester and she practiced this concept with her students. They were given a triangle and they had to come up with ways to make it different. Initially they started off with changing the color and creating different shapes of triangle but as they had to come up with more ideas, they started to play with scale, adding texture, as well as breaking it apart and reassembling it. It was really exciting to see the different approaches and ideas once they crossed over the more obvious answers. Quayola knows this all to well as he creates his visual music pieces. The ones he showed toward the end was the most exciting to me.

  15. Lauren says:

    Quayola is a visual artist who truly knows how to demonstrate such dynamic communication between sound and the moving image. It was super inspiring watching his work on a huge projector (rather than the usual laptop-size window) as I became immersed in all of the luscious and elegant geometric patterns. I admire how he uses simple geometric shapes in a simple manner with still being able to create an almost ‘sedate’ atmosphere. I also noticed that every frame could be a photograph. I am not sure if human emotion is an element Quayola is trying to express but his work (especially the Partitura series). Each melody has a different effect on the moving graphics, whether dark or light – which is an aspect I enjoyed. I was inspired by the experiments going on in this artist’s work. I am not usually a huge fan of this particular art style, but after Quayola’s presentation I have a greater appreciation and respect for his aesthetics of visual music. He knows how to allure the eye in the right direction and it is obvious that each work was created with passion and vigour, which continually inspires me to do so as well.

  16. Eric Tortora Pato says:

    Quayola work reminded me of a lot of threads and concepts which had been batting around several of my classmates’ heads for at least the last year, including some of my own (his approach to sound, for one. called to mind quite a few discussions from around the cubes). I find this both reassuring and mildly irritating, because while there is proof out there that you can do this kind of stuff, the bar’s already been raised, which makes it harder to reach.

    More than any other idea, however, his presentation brought to mind the design notion of complex simplicity, that kind of evolving pattern from a a few simple components which over laps and encases itself, creating something organic but ordered, and too refined to be chaos. It’s elegant work, and I really enjoyed watching it. His newer, reactive visualizations were particularly impressive, as they seemed to have flow and arc rather then simply being random reactive functions showing a different picture of the sound, which I feel quite a few reactive sound visualizers fall in to the trap of.

  17. Andrew Malek says:

    Quayola’s work has spawned more than a few interesting conversation in the past week, which I think speaks to the powerful concepts that drive his work. First of all his work seems to lie on the edge between animation, and interactive two disciplines that I think will continue to separate from one another as time goes on. The artists whose work is hard to classify are always fascinating because they reveal what our expectations are regarding a certain format. The fact that Quayola resists going in the full interactive direction is something that I really respect, elevating his work above that of novelty and into a world of moving sculpture, which is very exciting.

    The other element of Quayola’s work that is noteworthy is how his work is relies fully upon another work of art to even exist. While we live in the age of remixes, samples, and multiple references, I feel that Quayola’s work also goes to another level because his work is derived from an underlying structure that was within the original piece all along. In a way it is a more transparent version of the artistic process, but now software is the engine that drives the process and the same process has parameters that can be adjusted.

    In any case Quayola is in tremendously fascinating territory regarding the future of art and I really enjoyed the presentation. At the same time it made me want to run out and learn Houdini because it appears to be the future of digital abstraction.

  18. I enjoyed seeing the work. Quayola is a man who understands what I regard the proper use of three dimensional computer generated images. He does not try to emulate puppetry or realistic textures but flaunts stark and obviously generated computer imagery. This is exciting, particularly when used to illustrate motion in a more abstract manner, such as in the re-visualizations of the Olympians.

    Another thing I greatly enjoyed was how Quayola´s work made me think of the structure of the things he chose to re-represent, the various paintings as well as the flower swayed in the wind. It brought new attention to minuscule details, which I much appreciated.

  19. Di Gu says:

    I was really impressive by Quayola’s work.

    Usually I only focus on the animation film field and rare other medias can arouse my interest to do some attempt, but Quayola’s work is not just fun but also indicate that interactive animation will be definitely very popular in future several years. Interactive animation just start in China and I didn’t hear anybody focus on that field.
    So I think this is a really a precious experience to know this technic, especially for international student whose country did not develop this technic generally.

    Interactive animation will be more popular in the future and more and more people will focus on this area.

  20. Liffany Chen says:

    Just when I thought I was free from the clasps of mathematics and geometric shapes…

    Quayola’s work is distinct; I’ve never really seen anything like it in terms of animation. Still-wise, I did a collage with magazine clippings in high school that has a similar look to his work; the use of different straight-edged shapes and tones/colors to create depth. It never really occurred to me to have that kind of style animated (I mean, other than a time-lapse video of a piece start to finish). The way Quayola times his animation is a form of modern visual music.

    The work he did with the athletes was…enticing (I’ve been having questionable word choices lately, but I’m sure you can gather what I mean). Seeing each dot move accordingly to the movement of the joint/skeleton part it was attached to in a collective image and then seeing what shot/activity led to the specific dot movements was fun. For some of them, I knew right away what the general movement was, but it was definitely mind-boggling to see what decisions Quayola made with the lines and dots to create something entirely new.

  21. Emily Chung says:

    It is cool to connect classic painting, sport video and music with digital art together! I like how he gives classic art the new face and new life. Also I like his films are going with music very eill ! The animations are beautiful and different from other kind of the works!
    I especially love the “Sport video “. The movement, color and the music are perfectly matchwith eachother. I will not believe this art pise are actually came from a sport video. That’s why I like this video so much.

  22. Candace Reckinger says:

    On Saturday we went to view Quayola’s videos in site at the Paul Young Gallery in West Hollywood. I can’t describe how beautiful the works were in a darkened gallery setting projected like large paintings – I was able to sit alone before one tall “painting” and watch it repeatedly while listening to Matthias Kispert’s awesome sound work. In the main gallery space, the plant animations were set up so that it seemed you wandered thru a dark meadow with plants waving in the breeze. At the very back of the gallery there’s a room with Quayola’s ceiling piece projected above pillows set on the floor. We lay back on the pillows and gazed up at the celing for quite awhile trying to determine where the loop of animation began in the piece.
    My initial impression of some of Quayola’s animations was that some really affected me, some were too detached as systems of abstraction – not so in a dark gallery setting. It was a SUBLIME experience, and I encourage you to make the expedition to Paul Young’s gallery before the show ends. Btw, Paul’s a graduate of the USC cinema school, and he made films before he started writing about new art 20 years ago, which then led to this gallery and presenting new work internationally.

  23. Quayola has made a large amount of really fascinating work. It felt not much like films, but like experiences. The projects he has created make me want to sit down and stare at them for hours in a trance. Entrancing is my word of choice to describe his work.
    The project that used the motion of athletes to power the motion was the most fascinating one for me. Each time it played and I watched it all over again I gained a new understanding of what was happening, of how this motion connected to the movements of the athlete, and of the new shapes that were generated.

  24. Amy Lee Ketchum says:

    Quayola’s work was really exciting to see because of the way it is equal parts science in art. It struck me as an art of cognitive science. I appreciated seeing his cross-disciplinary way of working. Having come from an architectural background from undergrad, it was interesting to see how he applied the subject in his animation work. The fact that he has had such a strong creative vision has enabled to develop an incredible body work for being such a young artist.

  25. Javier B says:

    Quayola’s , work was very interesting and visual simulating. Merging old church murals and adding a new digital twisted give it a fresh new look. His work looks amazing but after watching the visual parade I wanted more, some kind of connection , some type of meaning or suggested meaning that lead me some where took me somewhere instead of just a visual experiences.

  26. Robert Calcagno says:

    Quayola works with concepts that I’ve always taken into account and just a natural interest of mine. I know many people feel that appreciating mathematics is more of an engineering/technical understanding; however, Quayola and myself sees math as more of a universal language. Once you understand that the universe and the fabric of existence is ultimately the physical manifestation of calculus, geometry, and algebra, then the world becomes all the more intriguing and interesting.

    The way Quayola brings that hidden world out of such Romanesque architecture/artwork I think actually brings an interesting context that works nicely with the fact that such concepts as aerial perspective and vanishing points, when artists were finally using measurements and ratios to accurately portray reality, contributes greatly to those who understands art on that level.

    I did find it interesting with his opinion regarding the audience’s reception and interaction of the artwork. While I understand his personal feelings about taking his work into the virtual-interactive realm would somehow diminish the contemplative intent of his work, I think that there’s definitely a virtual expansion that Quayola can bring with some dimensionality to it.

    Maybe not something to the level of manipulation that something like that the Kinect would provide, maybe expanding with 3D technology would be a great venue, especially if it incorporates the growing auto-stereoscopic technology or even augmented reality tech.

  27. Miguel Jiron says:

    I always admire contemporary artists who are unafraid delving into animation and unfamiliar terrain outside of sculpture, painting, etc. This goes double for having the discipline to delving into MAYA. In this sense it was super interesting to see someone like Quayola discuss his practice and career. He classifies himself as simply an artist, where his work can often generate numerous varied resumes: animation, design, fine artist, architect. This combination makes his work at its best compelling, and at its weakest confusing and watered down.

    I really loved his work for the 2012 London olympics, interpreting motion of athletes into dizzying Russian constructivist animations. It’s a hypnotizing work that delves deeper than surface level. Here Quayola can combine his love of Kandinsky, rhythms, and deconstruction into one clear and fluid idea and it works beautifully. His earlier work doesn’t achieve this level of cohesiveness to me. Geometrically deconstructing church domes and classical painting is visually interesting in its study of contrasts, clashing hard edge geometry into the luscious oils of old master-style paintings and architecture. But doesn’t go further than this. Part of Quayola’s interest in this is in a sense remixing architecutre, but he insists on leaving it flat on a screen. This work sort of begs to be 3D mapped and projected onto the actual architecture; its power is in its deconstruction of realist organic forms into math, and the higher you heighten the organic forms, the harder the decay gets. Keeping it flat on a screen, even while in these same spaces that the animations unravel, robs the piece of the power it seems to aim for. For such an interest for physical spaces, the work seems to limit itself, which is a shame as it’s a real potent mix of ideas and influences in all of Quayola’s work.

  28. Simo Liu says:

    It was one of my favorite seminars since I saw before. I was shocked by Quayola’s works. He is a genius who combines the advanced digital technology with music to create fantastic works. For me, I really love music and I also want to do some animation about visual music. But I have no idea about how to express the music in a visual way and how to realize them. However, when I saw Quayola’s work, it inspired me a lot. I’m really appreciate that he can use the abstract objects to make the music have power, rhythm and visible. I never thought that the visual music have so much power compared with other kinds of animation. I plan to take the visual music class in the future. I think it should be fun!

  29. Lanzhu Jian says:

    I love his art work floating on the church roof, every piece of the color and the graphic melt in the celling with classic painting. It sort of give me the feeling like I am tasting the chocolate, sweet and smooth. I love his later work the one with sports for London 2012. It is such a brilliant and innovation idea to transfer the movement of athlete and interact with 3D objects and it looks crazy good in motion. I think there are lots of possible in project like his work could interact with music. I wish there could more connection and playing room for us to play with his amazing work.

  30. Laura Cechanowicz says:

    I admire Quayola’s work, and it was especially interesting to see his creative development across time. I am particularly intrigued by his recent work applying motion information to particles. I am absolutely fascinated by the transcription of movement into particles, and I find it to be a poetic abstraction and representation of body language (which I am always considering in my work).

    I ran into an artist the other day who shared a beautiful video with me that sort of links with Quayola’s approach:

    I’m interested to see how this type of work will develop in the future. The other aspect of Quayola’s work that I really enjoyed was his moving visual scores. I think there is a lot of potential for exploration here, utilizing the images as generative for audio and vise-versa. This was a fascinating presentation, and I’m happy to know more about Davide’s work!

  31. Linda Jules says:

    Quayola was a great addition to this semester’s seminar. So far we have heard speakers cover almost every aspect of production. We heard about early CG in Disney movies, we heard about sound, we heard about traditional techniques, we heard about the key aspects of business in animation and we even heard about new approaches to animation using software like Touch Designer.

    Quayola’s work is the beautiful point where all of these topics come together. I think Quayola’s work serves as a perfect snapshot of where new media works are heading, while maintaining a nod to traditional mediums. I really enjoyed this presentation, and I look forward to seeing more from him in the future.

  32. chaoqi zhang says:

    Glad to meet Quayola a forefront artist of digital media in this seminar. Insprited byexpanded practice based on his long-standing interest in audio and visual music into the realm of photography, CGI and performance.His work is fansinate, for the center of his practice is a deep interest in the inherent structures found within Classical traditions ie, Renaissance architecture, well-known Rococo paintings and nature itself, and how those forms relate to digital mediums. By using a combination of original photography and software programs, he is able to identify and animate those inherent structures, which become the real protagonists of his extraordinary short films. The result is not only a celebration of the outright beauty of classical aesthetics but how they relate to digital artists through the use of mathematics.
    I see the great possibility of communication between tradition and mordern art work and his concentrate practice in new art language.

  33. Joseph Yeh says:

    Quayola’s work is wonderfully expansive and has a beautiful clean look. I love how his animation matches the sound design of his work. He uses random glass noises that fix up to the work. His approach to 3-d work is perfect and feels finalized- I believe this type of work has reached its full potential and I really want to see more of his style of work in films- even somehow in 2-d. This guy ain’t no crayon!

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