Utopia - Project Description

Utopia is a multidisciplinary artistic project in constant evolution. It is not a series of works. It is a system a narrative universe with its own logic, its own characters, its own phases.

 

At its foundation is Anatomia del margine (Anatomy of the Margin), a collection of autobiographical prose poetry that forms the project's layer zero: the raw material, the source from which the characters, obsessions and visual grammar of everything that follows emerge.

 

From there, Utopia develops in versions. Each version carries a theme, a medium, a phase of contemporary dystopia.

 

Utopia v0 - Oblivion

Layer zero. Anatomia del margine is a collection of 23 first-person prose poetry texts, organized in four movements Plasma, Flux, Stasis, Lysis  following a logic of physical transformation rather than chronology.

 

The book moves through a provincial childhood, a father with multiple sclerosis, a friend who died of an overdose, an art gallery that was also a scam, the body as archive, and identity as a process of continuous cooling. It is the text that explains why everything else exists.

 

It is also where Radio is born, not as a symbol constructed by design, but as a childhood imaginary friend who over time becomes something more: the embodiment of transmission, of signal, of the voice that cuts through noise.

 

Utopia v1.1 - Famine

The first painterly phase. Oil on canvas works born as cathartic act: inner void projected outward through allegorical images. Famine  one of the Four Horsemen of the Apocalypse  becomes the emblem of this stage: not only hunger for food, but hunger for meaning, absence of structure, erosion of purpose.

 

Oil painting is used deliberately against itself: a medium traditionally associated with permanence and mastery is bent to depict disintegration. Radio appears for the first time in this phase his yellow gas mask an ambivalent figure between disease and resistance.

 

Utopia v2.1 - Pestilence

The boundary between inner and outer worlds collapses. Where v1.1 mourned the collapse of meaning, v2.1 grapples with the proliferation of new meanings unstable, contested, fluid. Contamination is not only biological: it is ideological, memetic, visual.

 

Real-world objects are infected with paint, symbols and glitches  transformed into artifacts of a reality already slipping away. Truth spreads like a virus and reality becomes indistinguishable from its simulation. Radio operates here as instigator and witness: a threshold figure between order and chaos.

 

Utopia v3.1 -War

Where v2.1 was infiltration, v3.1 is open conflict. The rewriting of reality becomes an act of war  not only physical violence, but a fundamental clash between systems of meaning. Every system, when it meets its own contradiction, must collapse or transform into something new.

 

This phase embraces mixed media, distortions and augmented reality. Fragmented images mirror the breakdown of ideological stability. From the ruins, the old order is not restored new values are forged. The Santinomons belong to this phase: political figures transformed into pop devotional cards, secular relics of a power that has lost its sense of the sacred.

 

Utopia v4.1 - Ascension

The most radical form of the project. Physicality is transcended: the boundary between real and digital, between tangible and conceptual, is erased. This is no longer about contaminating or destroying the material world it is about building a new one, entirely synthetic.

 

Immersive 3D environments become the medium. Previous phases survive as artifacts within a constructed digital architecture. Utopia's final question no longer concerns the collapse of old structures, but the implications of a world in which even the distinction between creation and collapse dissolves.

 

Utopia as a Living System

Utopia is not a statement. It is a process. Each version does not erase the previous one: it overwrites it, leaving it as a trace, as a layer beneath the surface. The project works like a palimpsest — each visible phase carries within it the echo of all the others.

 

The audience is not a passive spectator. They enter the universe — through the works, the objects, the book — and become part of the cycle of corruption, collapse and reconstruction that Utopia stages.

 

In a world where reality is an architecture of control, Utopia is both critique and alternative. The question it asks has no definitive answer: you will look for it yourself.