Time, shaped by memory, takes the form of a narrative in which forgotten experiences constitute the primary plot. Remembering is, at once, equivalent to forgetting, for that which is lived or thought survives through time yet escapes consciousness at the very moment of its manifestation. This dynamic highlights the complexity of the relationship between memory and oblivion - fundamental elements in the construction of our identity.
Les Oubliers intend to explore the possibility of resurfacing that which has been forgotten within matter.

The objective is to move beyond the mere functionality of events and their chronological sequence, instead analyzing the very nature of memory. Through generative art, It seek to investigate the possibility of mathematical processes becoming a language capable of representing the complexity and contradictions of the human mind, opening new perspectives of representation and understanding.

A group of neuroscientists from the Maugeri Clinic in Milan is currently collecting electroencephalogram (EEG) data from the artist brain during memorization and recall exercises. The variations in brain activity, recorded at constant intervals, will form the raw material of the project: a flow of numbers destined to recount the rhythm of oblivion.

The collected data become parameters within a generative system developed in TouchDesigner. In this environment, numerical information - the expression of varying brain activity over time - is translated into geometric relationships. Each value of "forgetting" corresponds to a unit of space, a measurable change in form. The system is designed to construct a series of proportional structures, where the amount of lost memory determines the curvature of the resulting geometry.

The form grows, retracts, or thins, following the same laws that govern biological memory. The data does not produce an image, but a behavior.

The forms generated by the digital system are then entrusted to 3D printing, which translates their logic into physical presence. Each configuration, derived from brain activity data, becomes a material instruction that the printer deposits in space, layer by layer. The model is not simply reproduced; it grows according to the same laws that determined its origin.

It is a reflection on the possibility of transforming the intangible into the tangible, of giving substance to loss as a generative form. The work does not reside in the final sculpture, but in the very process that generates it.

The printing process becomes a performance of the machine, a physical translation of amnesic activity. While the brain forgets, the machine acts: it processes, builds, accumulates. Every cerebral variation becomes a movement of the device, a gesture inscribed in the language of the material. The work does not represent an object, but a temporal dialogue between body and system, between my forgetting and its mechanical reflection.

The sculpture is the visible residue of an invisible act: a tangible archive of a relationship between mind and machine, between loss and construction.

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