API-LOGO ⊕
A work created with the living, not merely placed among it.
A permanent sculpture at the Orto Botanico di Roma (Sapienza Università), API-LOGO bridges contemporary art and scientific research into the language of bees. Here, the living is not represented — it inhabits the work, runs through it, transforms it. A second video chapter is currently in development, and the project is now in discussion to travel to other institutions.
SUNSET BOULEVARD PANNELS
PRIMITIVE ⊕
Deforestation traced from satellite view, carved into wood by robot and hand.
An industrial robot carves roughly sixty percent of each sculpture from trees felled in the garden of Cyril de Commarque's childhood; he completes the rest by hand. Shown at Palazzo delle Esposizioni, Rome (2024/25), the Royal Academy of Arts, London (2021), and Saatchi Gallery, London (2019/20).
ARTIFICIALIS ⊕
A sequence of sculptural mise-en-scènes staged inside a sea of recycled plastic and mirrored glass.
A multi-media immersive installation meditating on the Anthropocene and the technologies reshaping human evolution, staged with a sound work by Cyril de Commarque and composer Toni Castells. Shown at the Saatchi Gallery, London (2019/20).
MY EDEN IS A LIE ⊕
A mirror-polyhedron sculpture, symbol of melancholia and the paradox of progress.
My Eden Is a Lie takes the polyhedron, a recurring form in Cyril de Commarque's work, as an emblem of our paradoxical progress: the acceleration of technology set against the erosion of the fundamental elements that sustain life. Shown in Art of Treasure Hunt, Colle Bereto, Tuscany (2018).
D-MELANCHOLIA ⊕
Four sculptures in a line — an ongoing meditation on melancholia and the reinvention of thought.
D-Melancholia takes the polyhedron — a form that has inspired philosophical contemplation since antiquity — as a metaphor for the moment we lay down our ideas to find a new perspective. An ongoing installation of four sculptures exhibited in a line, conceived as a continuation of Fluxland.
FLUXLAND ⊕
A boat sculpture, a sound piece, a floating space for debate on the Thames.
Fluxland combines a former freight boat with a mirrored polyhedron sculpture, moored on the Thames as a space for performance, sound, and debate on the meaning of progress. Launched in London in 2016, conceived as a pioneering intersection of art, philosophy, and science.
FRONTIERS ⊕
FRONTIERS
Gold-plated aluminium sculptures tracing the shifting geography of nations and the instability of borders.
Frontiers emerged from an examination of the evolution of national borders from the late nineteenth century to the present. By superimposing successive maps of Israel, Austria, Germany, Hungary, Russia, Turkey and the United States, the project reveals the nation not as a fixed geographical entity, but as a constantly changing construction.
The border itself becomes sculptural material. Historical boundaries are translated into layered blades of gold-plated aluminium, accumulating different moments of expansion, contraction, conquest and fragmentation within a single object.
The works examine a recurring paradox of territorial power: nations and empires that sought to extend their influence beyond their borders have often experienced, over time, profound territorial contraction or fragmentation. Expansion and disappearance, domination and loss become successive states of the same geography.
Gold introduces another ambiguity. Traditionally associated with power, permanence and sovereignty, it covers forms that reveal precisely the opposite: instability, displacement and the impermanence of political territories.
Through these shifting outlines, Frontiers questions the idea of the nation itself. What appears on a map as a stable and clearly defined territory is revealed, when observed through time, as temporary: the consequence of wars, treaties, migrations, political ambitions and historical circumstances.
The border ceases to be a line separating one nation from another. It becomes the visible trace of time and of the human desire to divide, possess and define territory.
Frontiers was presented as a solo exhibition at MACRO – Museo d’Arte Contemporanea di Roma in 2015.
