Chiara Passa, a multimedia artist and lecturer, has been exploring digital dimensions through augmented reality (AR) and virtual reality (VR) since 1997. In 2007, she established the diploma course in Multimedia and Technological Arts. Drawing on her academic background in fine arts and audiovisual media, her artistic research forms part of the revival of immersive art that emerged in the mid-1990s and explores the transformative role of technology. Over the years, Passa has developed a personal artistic language centred on immersive technologies. At the start of her career, in the late 1990s, Passa created VR and AR video installations and multimedia works using pioneering techniques such as full-wall projections \u2013 CAVE (Cave Automatic Virtual Environment) \u2013 and video mapping to produce an immersive effect. These early experiments laid the foundations for her innovative career, but it was only in 2014, with the use of 3D headsets, that she was able to fully immerse herself in the potential of virtual reality. Driven by a profound fascination with space and its transformation through digital languages, Chiara Passa uses VR and AR to challenge the static conception of architecture. Her installations explore the liminal space between the tangible and the virtual, creating a dynamic interpolation in which the boundaries of physical space are expanded, rearranged and transformed. By blending the real environment with an imagined digital space, she invites viewers to experience a sense of suspended reality, a kind of double exposure between the familiar and the unknown.
\nHer output encompasses a wide range of works, including 3D animations, net art pieces, and interactive, site-specific video sculptures in AR and VR, created using various materials such as Carrara marble, ceramic, plexiglass and 3D-printed components. In addition, Passa creates site-specific video installations using a range of Google Cardboard headsets. In these works, 3D viewers, strategically placed throughout the space, transform ordinary locations into geometric liminal zones, enabling observers to peer into reconstructed virtual realities that highlight the paradox of the contemporary space-time condition, which is increasingly fluid between the real and the digital.<\/p>\n
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