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3D Coding

Asemic writing (ink) on tissue paper, plastic and metal pins on rubber ball

Variable dimensions











Copy Without Paste

Modified computer keyboard

Variable dimensions


All keys have been removed from this keyboard except the “apple” and the letter “C”. Moreover, the USB plug has been cut away. The piece includes the following text:

«This keyboard can only copy, but the act of copying is lost in the ether. The screen is absent, the cord is lost in space. The copied object is unknown, because nothing can be pasted. The ‘V’ key has been removed. Do the keys remain functions here? Empty functions, or cultural functions at most: we all know that it is about copying something. But what? Perhaps what is seen without the screen? Copying the space?»










AW - Perception

Participative sculpture for Art by Telephone...Recalled, curated by Sébastien Pluot and Fabien Vallos at La Panacée, Centre for Contemporary Art, Montpellier, 2014. All info HERE (external link).











Black ink on glass marble



This object has been created for the Chrématistique exhibition on economy at CNEAI, Chatou, France, curated by Fabien Vallos and Jérémie Gaulin. The piece is a glass marble on which the words ‘échange’ (exchange) and ‘enfance’ (childhood) are written on two different sides. The marble is placed in a box).

URL of the project: www.chrematistique.fr










Syntax Planet Series

Black ink and plastic pins on rubber balls

Variable dimensions


Initially created in blue for the reactivation of Alison Knowles’s House of Dust at the Darling Foundry in Montréal, Canada, Syntax Planet became a series of differently colored small “objet trouvé” – or rather “objet cherché” – sculptures. The expression “syntax planet”, hand-written on monochrome rubber balls, is echoed by a variable amount of “satellites” made of pins of the same color and inserted into the main body. The following text accompanies the piece:

«The Syntax Planet Series is an utopian model for a direct connection between language and the real. The syntactical arrangement to which the words “syntax planet” hint at, instead of being produced by language itself, is generated by the distribution of the plastic pins on the ball. The aleatory and each time different distribution of the pins on the object traces a model of syntax of the world, a silent objectal-verbal composition, just like the ball and its “satellite” pins are a model and a cartography of imaginary planets. The language is reduced to the expression “syntax planet” which at the same time gives the object its poetic, language- based nature and assigns to its other components a completely different role than if they were not accompanied by this revealing yet enigmatic inscription. The Syntax Planet Series is then a translation of language into objects and vice versa, a mode of combination and dissemination, a form of notation, and an architectural microcosm. The Syntax Planet Series is a playful attempt to create a connection between language and world in which these two instances are not anymore distinct, so that the one can directly influence the other. »













Artist's proofs of From a Dream

Asemic writing (ink) on rubber ball, metal wire

Variable dimensions














All pictures by Laila Dell'Anno