Quayola (www.quayola.com) is interested in the liquefaction of form in the digital era. His work explores unpredictable collisions, tensions and balances between what is real and artificial, the figurative and the abstract, the old and the new. Reinterpreting the Baroque and Renaissance tradition, he uses programming codes to subject forms to unexpected changes, which he then translates into sculptures and videos. His relationship with the past is not gratuitous, but always provides a solid basis—sanctioned by History—for his exploration of fluid aesthetics and their cultural consequences. All this is apparent in his recent series, from Captives (2012‒14) to Laocoön (2016), in which his digital reformulation of the sculpted artifact and his use of modern rapid prototyping techniques respond to the need to reflect on the nature of time: classical sculpture as an infinite variation of a model; archeology and restoration as the ecstasy of the fragment. The artist’s interest in the aesthetics of code has led him to develop audiovisual performances and to collaborate frequently with the world of music. In 2013 he received the prestigious Golden Nika award at the Ars Electronica festival, in the “Expanded Animation” category.