ENG – ITA
THE OTHER SHAPE OF THINGS | 1. Failed Objects • 2. Datamorphosis • 3. AAS47692
THE OTHER SHAPE OF THINGS – 3. AAS47692 (2022), consists of six works produced from the DNA of a Norwegian spruce tree. The title of the project, AAS47692, refers to the accession number used to locate its genetic code. The series focuses on the interplay between material form and genetic information through an experimental use of natural materials, weaving, data analysis, and digital elaboration.
AAS47692#0001
AAS47692#0001 (The Other Shape of Things), 2022. Modified open frame server rack (42U, X: 59; Y: 197; Z: 73,5 cm); four water-based digital prints from European spruce DNA processing on BielMonte™ Ermenegildo Zegna textiles (10% silk, 90% wool, gr. 167/m2, 2pc. 44,5×186 cm, 2pc. 36,5×189 cm); HD video (1280×1024, loop, b/n, no sound); neon LED strip lights; alucobond mirror, various components. Overall dimensions: X: 99; Y: 197; Z: 113,5 cm.
#1 [THE ART COMMISSION]
The project The Other Shape of Things (AAS47692 / Picea abies) was commissioned by Fondazione Zegna. I developed a process of artistic creation in line with both the history and expertise of the Zegna Group and in strict dialogue with the natural oasis that surrounds the exhibition venue. Overall, my project furthered my exploration of the relationship between biology and digital technology and my study of the parallelisms between textile production and computation.
AAS47692#0002
AAS47692#0002 (The Other Shape of Things), 2022. Modified open frame server rack (42U, X: 59; Y: 197; Z: 73,5 cm); sublimation prints on aluminum from European spruce DNA processing (2pc. 42,5×120 cm) and water-based digital prints on San Patrignano textiles (50% linen, 50% wool, gr. 430/m2, 2pc. 48×190 cm); HD video (loop, colors, no sound); neon LED strip lights; alucobond mirror; various components. Overall dimensions: X: 99; Y: 197; Z: 113,5 cm.
#2 [THE NORWAY SPRUCE]
The most striking feature of the natural park surrounding the exhibition venue is the presence of over half a million Norway spruces planted by Ermenegildo Zegna towards the end of the 1920s. Like many plants, these trees can reproduce through vegetative propagation, resulting in new genetically identical trees. I immediately imagined a forest of clones, countless formal variations of a single genetic code, and I decided to start my project from the DNA of a Norway spruce. After all, the very word ‘code’ comes from ‘codex’, the Latin word for ‘tree trunk’…
AAS47692#0003
AAS47692#0003 (The Other Shape of Things), 2022. Modified open frame server rack (45U, X: 51,5; Y: 214; Z: 36 cm); water-based digital prints with hand embroidery from European spruce DNA processing on BielMonte™ Ermenegildo Zegna textiles (10% silk, 90% wool, gr. 167/m2, 2pc. 44,5×204,5 cm); neon LED strip lights; alucobond mirror; various components. Overall dimensions: X: 91,5; Y: 214; Z: 76 cm.
#3 [RAW MATERIAL]
My first step was obtaining the ‘raw material:’ the genetic code of the Picea abies–scientific name of the Norway spruce. At an informatic level, this code consists of a text file weighing 13.311.495.447 bytes: an extremely long sequence of four letters (A, T, C, G) in various combinations. I then developed custom software and algorithms able to convert this code into a series of textile patterns.
AAS47692#0004
AAS47692#0004 (The Other Shape of Things), 2022. Open frame server rack (12U); tree root and mixed media; neon LED strip lights. Overall dimensions: X: 50; Y: 64; Z: 30 cm.
#4 [FROM CODE TO TEXTILE]
DNA and textiles share an interesting property: their material structures do not serve as supports for information subsequently applied on top of them. They do not ‘represent’ information but instead they ‘present’ it in a perfect homology between form and content. This property distinguishes DNA and textiles from media such as painting, photography, or writing. In other words, structure and information, as much in textiles as in DNA, coincide. Whence the idea of processing the genetic code of the tree using a wide range of textile techniques.
AAS47692#0005
AAS47692#0005 (The Other Shape of Things), 2022. Open frame server rack (8U); sublimation prints on aluminum (7pc. 46×29 cm); neon LED strip lights. Overall dimensions: X: 50; Y: 45; Z: 30 cm.
#5 [THE FORMALIZATION]
The production process led to six water-based prints on Lanificio Zegna BielMonte™ textiles, produced with the wool of sheep living around the exhibition space. For two of these textiles I developed a hand-embroidered design carefully executed by Mending for Good. In collaboration with San Patrignano I produced two linen and wool textiles woven on a hand-loom, creating a textured support for my digital design. In collaboration with BONOTTO I produced a tapestry using 100% recycled synthetic threads woven by a Jacquard Gobelin loom. These results reflect my desire to experiment with new materials and push each of these processes to their technical limit. Finally, I gave form to my artworks by combining these textiles, along with videos, roots, and prints on aluminum, within five open frame server racks. Server racks are normally used in data centers for the archiving and elaboration of data. In my case, they support the transformation of the tree’s genetic code into a plurality of materials, colors and forms.
AAS47692#0006
AAS47692#0006 (The Other Shape of Things), 2022. Jacquard tapestry (100% recycled polyester, gr. 500/m2, 140×320 cm), alucobond mirror, various components. Overall dimensions: X:110; Y:80; Z:370 cm.
EXHIBITIONS:
- (2022) (Solo Exhibition) Fondazione Zegna. L’altra forma delle cose (AAS47692 / Picea Abies), curated by Ilaria Bonacossa, Casa Zegna, Trivero, Italy
(Selected) BIBLIOGRAPHY:
[CURATORIAL TEXT]
L’altra forma delle cose
“AAAS47692 / Picea Abies”
Curatorial text by Ilaria Bonacossa, 2022. (ita)
[PDF]
[EXHIBITION REVIEW]
Exibart
“L’altra forma delle cose’: Emilio Vavarella alla Fondazione Zegna, Valdilana”
June 2022 (ita)
[EXHIBITION REVIEW]
Juliet
“The Breathing of a Code / Il respiro di un codice”
by Piermario De Angelis, June 2022 (eng – ita)
[SOURCE (eng) | SOURCE (ita) | PDF (eng) | PDF (ita) | PROJECT]
[EXHIBITION REVIEW]
La Stampa
“L’altra forma delle cose: nell’arte di Emilio Vavarella le due anime della famiglia Zegna”
by Simona Romagnoli, June 2022. (ita)
[EXHIBITION REVIEW]
Artslife
“Memoria vegetale come materiale pulsante: una grande mostra di Emilio Vavarella”
By Flavinia Severini, 20 May 2022 (ita)
[EXHIBITION REVIEW]
Man in Town
“L’altra forma delle cose: la nuova installazione di Emilio Vavarella a Casa Zegna”
by Rosamaria Coniglio, 1 July 2022. (ita)
[EXHIBITION REVIEW AND INTERVIEW]
ARTEMORBIDA TEXTILE ARTS MAGAZINE
“L’altra forma delle cose / The Other Shape of Things”
by Barbara Pavan, n.8, July 2022. (ita-eng)
[INTERVIEW]
The Parkview Museum
“Emilio Vavarella: Unpredictability of Technological Power”
in Bio Art (ed. by Camilla Latini, Maurice Xu and Xiadi Sun). Published by the Parkview Museum Beijing – Singapore, 2023. (chi-eng)
[EXHIBITION REVIEW AND INTERVIEW]
ARTEMORBIDA TEXTILE ARTS MAGAZINE
“L’altra forma delle cose / The Other Shape of Things”
by Barbara Pavan, n.8, July 2022. (ita-eng)
[MA THESIS]
NABA – Nuova Accademia di Belle Arti
“Emilio Vavarella: Esseri Umani, Tecnologia e Memoria”
by Amico, Chiara. Missing the Signal. MA Thesis in Fashion and Textile Design. NABA: Nuova Accademia di Belle Arti, Advisor: Andrea Cammarosano, 2023, pp-122-142. (ita)
[PDF]
+INFO
- Commissioned by Fondazione Zegna.
- Special thanks to Anna Zegna, Ilaria Bonacossa, GALLLERIAPIÙ, Nick Briz, the Harvard AFVS390 studio, Phillip Stearns, and to the staff and communities of Fondazione Zegna and of Oasi Zegna.
- The works in the series have been been produced in collaboration with: Lanificio Ermenegildo Zegna; mending for good; BONOTTO and San Patrignano.
- Exhibition shots by Damiano Andreotti.