The Saudi Arabia Project marks a phase of expansion into an international and cross-disciplinary context.
Developed within a framework that brings together art, technology and industry, the project operates at the intersection of cultural exchange and artistic direction.
Santona was invited to lead the artistic direction of a large-scale event in Riyadh, engaging with institutional representatives, industrial partners and international stakeholders.
The work unfolds as a dialogue between different systems:
artistic practice, technological development and cultural identity.
The intervention does not impose a narrative.
It establishes a field of collaboration.

Within this context, the artwork functions as a mediator—
a structure capable of connecting languages, disciplines and geographies.
The project reflects a shift from individual production to a broader, systemic dimension, where art operates as a platform for exchange.

Institutional project

Hologram Portraits redefine the condition of the image.
The subject is no longer fixed, but emerges through movement, light and temporal activation. The portrait exists as a dynamic field rather than a stable form.
Visibility is contingent.

The work appears only when activated, shifting between presence and disappearance. What is seen is not a representation, but a process.
The image does not hold the subject.
It releases it.

Works available on request

Dante Hacked operates at the threshold between language and code.
The Divine Comedy is translated into binary, shifting from readable text to a visual and computational structure. Meaning is displaced, not removed.
The work exists within a system that cannot fully interpret it.
Text becomes image.
Language becomes data.
Authorship becomes unstable.
A second, hidden layer remains embedded within the code—accessible, but not immediately legible.
Dante Hacked does not represent a text. It tests the limits of its transmission.
The work exposes a fracture:
between what is written, what is seen, and what can be processed.

Trinità marks the origin of Santona’s research.
The work emerges from a direct encounter with matter, beyond intention and control.
Here, the void appears for the first time as an active, generative condition.
Not absence, but structure.
From this point, the practice shifts:
from shaping to opening,
from form to field.

Trinità is not an early work.
It is the point from which everything unfolds.

Available for museum and institutional exhibitions only

Crash is a large-scale sculptural project addressing human dignity.
The work unfolds through the multiplication of a single form: a fallen figure, replicated and distributed across space. Each element is autonomous, yet inseparable from the whole.

Meaning emerges through accumulation.
The project operates beyond the exhibition context, extending into public and non-institutional environments.
Cities become sites.
Distribution becomes structure.
Crash does not narrate an event.
It constructs a condition in which absence is made visible.
Each unit stands as a minimal presence—
a fragment that holds together loss, memory and unresolved identity.
The work resists completion.
It remains open, dispersed, and collective.