Poetry beyond
the screen.

A faun enters the theatre of power, wearing armour found beside the ghost of a knight. Trials Of Destiny follows ambition, seduction and betrayal through a kingdom that increasingly resembles the mind itself. The triptych premiered as an immersive exhibition at ETH Denver on 25 February, was exhibited at Mesa Contemporary Art Museum during March, and was performed live at Superchief Gallery in Downtown Los Angeles on 16 April. Performance photographs and the Denver exhibition film bring these distinct encounters with the work into the page.

Presented at the Rijksmuseum through the Google Gemini Art Remix, 1616 brings literary history into dialogue with Rembrandt’s Night Watch. Shakespeare and Cervantes stand at the threshold of a changing Europe: their imagined final days become a meeting place for memory, theatre and painting. The moving image extends the historical canvas into a cinematic poem, allowing figures from art and literature to inhabit the same unfolding world.

At Club M2 on 4 December 2025, Kaleidoscope expanded from a written poem into an immersive live presentation with Nolcha Shows. Spoken performance anchors a world of refracted harbours, turning windows and mirrored identities. Images divide and recombine around the voice, making the room part of the poem’s architecture. The exhibition film preserves this encounter between a performer, the projected world and its audience.

In the Sparrow Cube VR Experience, the visitor determines how the images unfold. Fuller, Vincent D’Onofrio and Sutu built a poem whose visual sequence changes with each encounter. Fuller’s account of Miami follows that experiment into a Tezos panel moderated by Victoria West. The accompanying film takes us along on the artists’ visit.

Laurence Fuller and Vincent D’Onofrio brought Graphite Method to STELLAR at Lume Studios, joining performed poetry with enveloping projections. The collaboration carries the intimacy of an actor’s voice into digital fine art. Sparrow, developed with Sutu, begins with a bird striking a window: a small interruption becomes an invitation to suspend ordinary time and enter a poetic world.

At Palazzo Collicola, Nicolò Marchi (gammatrace) presented two cycles of computer-generated moving images, Nebuxel and Phosphenesis. Fuller and Vincent D’Onofrio collaborated on one work in Phosphenesis. The city’s exhibition record places that collaboration within Marchi’s wider practice.

Visitors encountered digital art in a living room built inside the museum foyer. The selection changed over the course of the exhibition, with Tezos community contributions and workshops making room for visitors to participate. Fuller, Daniel Martin and Santiago Pani share the artwork credit on the exhibition poster, with graphic design by Jasmin Kress.

Presented at the British Art Fair with Sedition, MuseFrame and Matthew Flowers, and simultaneously in an immersive setting at Lume Studios, Redemption brings Peter Howson’s painting into dialogue with Laurence Fuller’s poetry. Animated forms retain the intensity of Howson’s figures while sound and language draw out questions of struggle, faith and atonement. The work treats redemption as an ongoing reckoning, giving the audience a space in which painted and spoken experience can be felt together.

At NFC Lisbon, Paradise Reigns placed the live voice at the centre of a surrounding digital landscape. Developed through conversations with John Karp and Grida, the presentation explored how cinema, poetry and fine art can become a shared physical experience. Fuller’s account describes memorised verse and layered imagery meeting in the moment of performance: the poem moves from an inward vision into a room occupied by its audience.