STUDIO AIRA

an interview to Studio Aira. text by Federico Giacomarra

Tell us about the path you took as an artist…

It started with graffiti in the suburbs of Rome, when I was fourteen years old. Then, I attended an arts and design high school where I received a formal education, learning perspective and “old school” techniques like drawing in ink. But then the 3D drawings on walls moved to computers! I took a course in visual effects, and then I opened my first studio in Rome along with some friends and colleagues. Studio-aira is a side project that allowed me to support myself financially since that time. We are three people working with graphics, communication, 3D renderings and animations for architects.

From your point of view, what is the role of experimentation in artistic production?

Visual mapping is one of the main products of my experiments. It was born from the desire to have real feedback on what I consider a true work of art today. The impact is immediate and enormous as it may encompass entire buildings, after only a few minutes of work. The maps are a summary of what I studied: motion graphics, 3D, architecture, and eye illusions. (trompe-l’oeil) As a result of my experience as a vj, I began collaborating with the “Saponeria Club” in Rome. I laid out a plan for their visual system that involved a permanent installation on the main wall of the room, using a single projector. From there we created a relief and a simulation in Maya, and finally we gave our CAD drawings to a group of artisans from Pigneto called Anonima Macchinette who built the MDF structure for us.

How does the audience react to your settings?

We receive feedback from people immediately because of the effects of the trompe-l’oeil. Motion graphics are especially useful in altering the appearance of that which already exists in another form. For example, by bouncing objects on the molding of a door that in reality has no thickness, it makes it seem very deep, and creates a feeling of disorientation and curiosity. Because of these effects, many major brands have begun taking an interest in this form of communication.

How much of your relationship with architecture, from your training to your work experience, has influenced your work?

I am curios about architects such as Gehry and MVRDV. Videos have been invading the world of communication for many years, so I do not see why architecture in this sense can not begin to “move”!? My dream is to see architecture that is born with the concept of visual illusion; something that makes you see beyond the classic architectural elements without actually moving anything.

What is the future of visual mapping in Italy?

The environment in Italy, especially in terms of permits and legislation, is not at all prepared to make room for this form of art. We need people to bring out new ideas; in general we need to create an Italian scene. The appointment this year at the LPM will certainly be very important in helping people take a closer look to see what is moving!