Quayola's First Solo Exhibit

This exhibition aims to present a complete overview of Quayola’s creations through an immersive itinerary.



The historic building of palazzocipolla is an apt setting to display the artist’s take on art history which revolves around classical education and the everyday use of futuristic visual media. The works displayed have been created between 2007 and 2021 and offer an overview of the artist’s creative process, time shifts, anticipations of the future, and reconstructions of the past. The exhibition will uncover three thematic areas namely classical iconography, unfinished sculptures, and the tradition of landscape painting.

Quayola has turned computational technology into a new canvas by using robotic systems, Artificial Intelligence (AI), and generative software: Renaissance and Baroque paintings are transformed into intricate digital compositions through computational techniques, and sculptures inspired by Michelangelo’s technique of the unfinished are sculpted by robotic means.


We then find representations of nature, the outcome of generative art that highlights the fascinating – yet paradoxical – resemblance between the natural and the digital world. Video projections, sculptures, and high-definition prints allow visitors to explore the remarkable artistic potential of these expressive media – far from the clichés about dehumanized technology – and to acquire essential instruments to interpret contemporary society.

Video projections, sculptures, and high-definition prints allow visitors to explore the remarkable artistic potential of these expressive media – far from the clichés about dehumanized technology – and to acquire essential instruments to interpret contemporary society.

As more artists become aware of the relevance of new technologies and artificial intelligence in today’s world, they use these tools as media. However, Quayola views technology as more than just a tool—rather, it serves as the focus of his research. His study strives to investigate and present the changes that emerging technologies are triggering within the course of human evolution. Computers are advancing and developing at an exponential rate; although they were designed to look and act like people, many of the jobs and analyses they perform now are still out of human reach. In order to meet this new norm, we are currently changing our faculties, our way of thinking, our collective representations, and our visual systems. Technology appears to Quayola as a wise companion to collaborate with, and not simply a machine to use and control.

Prof. Emmanuele F. M. Emanuele, the President of Fondazione Terzo Pilastro – Internazionale, the promoter of the exhibition, quoted that: “Quayola uses the algorithms that regulate the digital world not merely – or not simply – to create artworks, but rather to probe – through the endless opportunities that technology affords him – the research process which underlies the artwork itself, to explore the range of possible ways of giving a creative idea concrete expression. He breaks down and shatters things to reorganize and construct wholly new aesthetic canons. Significantly, within this highly innovative and original process, constant dialogue with the great masters of classic art proves crucial for quayola. This young artist draws inspiration for his creations from masterpieces by Raphael, Botticelli, Rubens, and Bernini. He prefers preparatory sketches because what is unfinished allows him – as he admits – to depart from the idea of representation to focus on the process itself. Quayola’s art, therefore, makes for an exhibition that, I trust, will help traditional purists approach the new modes of expression deriving from the latest technologies. These, far from being bare and “dehumanized” are put to the service of the creative act in all its forms, offering the artist and his viewer new tools to explore the ineffable mystery of the practice of art.”

Despite the changes in expressive media, the extensive exhibition itinerary brings out the enduring character of the artistic research that began in the past and which continues in the present: this reinterpretation of the “classics” is compared to great masterpieces, which are reproduced on “educational boards”, both to make the exhibition more accessible and to guide visitors by helping them to explore and understand the “Quayola code”. An integral part of the exhibition, and the most striking expression of Quayola’s innovative and technological skills, is the presentation of his robotic sculptures: in this case, the dialogue with the great artists of the past, and particularly with Bernini, underlies the development of an unprecedented sculptural body, executed through the support of an AI robotic system.


Quayola has reinterpreted the computational world which was earlier seen as being poles apart from the natural kingdom. Quayola has created a new type of Impressionism through an artificial nature that is remarkably similar to the natural world in its truth. Quayola’s artwork aids in the reflection and understanding of modern life in the digital age. The artist illuminates the paradox of immateriality, which is de facto a new type of materiality - the appropriate language to describe a vision of the 21st-century world - by creating a body of works that take on both immaterial such as videos and material such as prints and sculptures forms.

The exhibition is promoted by Fondazione Terzo Pilastro – Internazionale, headed by Prof. Emmanuele F. M. Emanuele. It is produced by Poema with organizational support from Comediarting and Artemisia and is curated by Jerome neutres and Valentino iatrical.  It fits in perfectly with the activities that the exhibition space at palazzo Cipolla has been hosting for more than 20 years. Under the capable direction of its President, the Foundation has prioritised researching the most significant artistic movements and modes of expression from the outset with exceptional sensitivity and foresight. This analysis started with a fundamental examination of the Quattrocento and the Baroque periods that have created Italian identity; it then went on to research faraway civilizations imperial China, Japan, India, Soviet Russia, and the United States , before touching upon the most relevant examples of Italian and international contemporary art, by highlighting its innovative ideas and undisputed protagonists.