In Body’s Contaminations, Alessandro Risuleo approaches the human body as a medium in transition—aesthetic and political surface, living archive of tensions, identities, and metamorphoses. His figures, initially idealized and almost sculptural, are then disrupted by visual intrusions that defile, fragment, and expose them. This is a beauty marked by contamination—never sterile, always layered—speaking the visual language of contemporary complexity.
These are not merely painted bodies. Risuleo employs a specially formulated paint and a photographic technique that transforms skin into a pictorial surface. The resulting images are hybrids between sculpture and photography—visual casts that appear carved in marble, yet pulse with living matter. These bodies—sometimes solitary, sometimes entangled—become totems of a post-human condition, suspended between flesh and alloy, between classical canon and dystopian vision.
But the experimentation does not stop at the surface. Through the integration of Augmented Reality technology, the works of Body’s Contaminations come to life: by scanning the images with the ArtScan app, the bodies animate—they move, breathe, unfold. It is as if the photograph itself has been infected by an invisible code, revealing a hidden narrative and sensory layer. The boundary between viewer and artwork dissolves.
This project resonates with the unsettling anatomies of Hans Bellmer, the performative imprints of Yves Klein’s “Anthropometries,” and the digital investigations of contemporary artists reflecting on bodily mutation in the age of technology and artificial intelligence. Risuleo does not denounce—he explores. He does not judge—he observes. And he returns to us a collection of altered icons: fractured, imperfect, and all the more powerful because of it.
Body’s Contaminations is a work about the loss of integrity—but also about the emergence of a new aesthetic. One that does not fear transformation, and that, through contamination, seeks a deeper form of truth.
