Collaborations
FASE 8 – SOMOS ROJO
FASE creates a space for exploring and discussing the existing and possible intersections between art and science.
At FASE 8, we presented Somos Rojo, an interactive installation that invited viewers to experience color in a different way—to reconsider its symbolism, its meaning, and the influence it has on our perception.
The installation consisted of three robotic interfaces equipped with motion sensors that responded to the presence and movements of the viewer. Through programming developed specifically for the work, the interfaces could detect the audience and regulate their movements, transforming the spectator from a passive observer into an active participant in the installation.
Somos Rojo was exhibited for one month at the Centro Cultural Recoleta in Buenos Aires, Argentina.
The project was funded by the Universidad del Museo Social Argentino (UMSA), which our artist collective represented during the exhibition.
FASE 9 – ENTROPY
Entropy was presented as part of this art, science, and technology gathering in late 2017 at CASo (Casa del Arte Sonoro), part of the Casa Nacional del Bicentenario in Buenos Aires.
The installation proposed a different way of visualizing the human voice. Through custom programming, different vocal ranges were interpreted and translated into forms and colors, transforming sound into a visual experience.
At the same time, each participating artist used a graphics tablet to digitally intervene in the visualization of the viewer’s voice. This interaction allowed the artist and the viewer to create a work together, in real time, an in situ piece that was unique and ephemeral, existing only within that particular moment of exchange.
AEROCENE PROJECT – ARGENTINA
The Aerocene Project is led by architect and artist Tomás Saraceno.
Expanding across the world, the project invites us to become more conscious of the atmosphere we inhabit and to imagine ways of moving through it without relying on fossil fuels.
Metaphorically, Aerocene asks us to envision the possibility of a fuel-free form of flight, one that could allow us to travel through the world using only the energy of the sun and the power of the wind.
BORGESIAN LABYRINTHS – MEDIALAB
Altar Mujeres SXXI - Installation
An artist collective working with fire-based practices, exploring the possibilities that emerge from the intersection of ceramics, art, and electronics.
Directed by ceramic artist Silvia Barrios, the collective develops projects that reflect on and investigate the work of Jorge Luis Borges and other Argentine writers, translating literary ideas, narratives, and imagined worlds into experimental installations.
The collective has presented installations internationally, including projects in Morocco, Cuba, and Italy, creating a dialogue between Argentine literature, contemporary art, technology, and traditional ceramic practices.
I collaborated with the group as an artist and as one of the coordinators of the production meetings, contributing to both the creative development and organization of the projects.
XIANO
Xiano is a project I created with my friend and fellow artist Rosario Suñe, born from our shared interest in photography, experimentation, and the material qualities of image-making.
Together, we developed workshops centered on cyanotype, an early photographic printing process known for its distinctive Prussian blue, or cyan, from which the technique takes its name. The process was created by Anna Atkins, the pioneering British photographer and botanist who used cyanotype in the 1840s to document botanical specimens and is widely recognized for producing the first photographically illustrated book.
For us, however, cyanotype was more than a photographic technique. Blue became part of the language of the work itself. It is a color that can suggest water, sky, distance, memory, shadow, and infinity. Through sunlight and chemistry, objects leave behind traces of their presence, sometimes sharp, sometimes ghostlike, suspended within fields of deep blue.
There is something poetic about allowing an image to emerge through light, time, water, and exposure. The process transforms ordinary objects into silhouettes and fragments, preserving their absence as much as their presence.
Through Xian, we invited others to experience this slow and tactile relationship with photography: to work with light rather than simply capture it, and to discover how many stories can exist within a single shade of blue.