Quayola described his project in the most succinct and concise manner:
“Captives is an ongoing series of digital and physical sculptures, a contemporary interpretation of
Michelangelo’s unfinished series “Prigioni” (1513-1534) and his technique of “non-finito”.
The work explores the tension and equilibrium between form and matter, man-made objects of perfection
and complex, chaotic forms of nature. Whilst referencing Renaissance sculptures, the focus of this series shifts
from pure figurative representation to the articulation of matter itself. As in the original “Prigioni” the classic figures
are left unfinished, documenting the very history of their creation and transformation.
Mathematical functions and processes describe computer-generated geological formations that evolve endlessly,
morphing into classical figures. Industrial computer-controlled robots sculpt the resulting geometries into life-size
The fine essence of marble is now replaced by what seems to be industrial compressed foam.
But it is less about material transformation than it is about form manipulation and Quayola has used digital technology as a deliberate intervention to his advantage.