Giusy Amoroso’s talent for digital rendering and artwork has fused with fashion, experimental electronica in this music video for Nava project, Camera and beauty. The digital is all consuming and Giusy creates a hybrid aesthetic that reinforces what she identifies as a "separation of the real from reality"- the fact our real is mediated through digital tools that frame only a portion of reality.

What initially drew you to CGI?
I have a degree in product design; whilst studying I was so attracted to the digital process and got to the point where I was conceptualising directly in 3D rather than on paper. What most appealed to me was the way I could break rules using complex and abstract shapes. The application of the materials was the most fascinating of all, it gave me an opportunity to realise my own imaginings. In short, for me, there is no better, nor more fascinating way to visualise what goes through my head.

Latex, metallic or plastic high-shine surfaces are a key part of your aesthetic. Do you intend to reference fetish?
I simply like the cold and amorphous feel, if that reminds you of fetish culture that's fine, if you associate it with industrial design, that's also fine.

Filters as art can appear to erase boundaries between art, artist and audience as users of the filter reframe and replicate the original work- what does it mean to you?
AR Filter makers use us humans as "canvases" for the digital reproduction of their artwork; fascinatingly we create alterations in their work, through the differences in each canvas. Whoever chooses to use these wishes to temporarily distort their identity through the use of a mask; I created Blood Vessel and X-Muse (for trashymuse) to be used as a digital make up. However, the Nava face filter is a mask, concealing the user. This floral glass mask was a digital piece first created for Nava's music video. Sam Aldridge and I's aim was to give the mass audiences a flavour of this cyber witchcraft.

As digital manipulation enters beauty trends how does this alter our “irl” experience?
We will see an ever-changing morphing sense of beauty- in over-perfection, airbrushing, reshaping or the creation of digital imperfections as seen in BeautyGAN for Dazed Beauty featuring Kylie Jenner Beauty Gan is a type of AI algorithm that uses machine learning to produce beauty imagery. It is a smart algorithm that understands the new definitions of beauty with an output of images, videos, and soon an augmented reality filter.

You have worked on CGI for multiple Nike campaigns. What is the future of digital art in fashion?
I like to think that we will all be naked. Mixed reality will become virtual reality. Will we even see each other? Our fashion will be entirely digital, our need for physical, disposable materials gone.

In an interview you said, “We are all living in a virtual reality” what characterises this?
My belief is we are all part of a complex puzzle game- one massive particle simulation within a super computer. The maker and I have a connection, professionally.

You created a music video for Nava prjct’s track Camera. The title instantly makes me think of online surveillance culture; is the amount of personal information accessible nowadays problematic?
Yes, it is a problem, we share too much, but we choose to do so and have ourselves to blame for this crisis. Camera can be interpreted in many ways, my collaborator for this video, Sam Aldridge and I decided upon the themes of transformation and digital hex through unconscious self-analysis.

What is ironic about creating futurist art in the present?
We are all playing in a post-human "futurist" art piece.

Tell us your biggest inspiration.
It's hard to tell what my biggest inspiration is... I can tell you that I've always been in close contact with nature and the organic forms, which always inspired me. I also like Henry Moore and Jean Arp’s biomorphic sculptures. Specifically, I focus on organic structures as the formative principles of reality. The organic abstractions seen in my work such as fluids and soft curved shapes contrast with the cold amorphous materials I render them in to create an amalgamation of my mind and my perception of reality. Despite self-doubt in my art I can imagine a beautiful far future, which will never be seen through my eyes, that I have the possibility to reproduce now digitally.