My artistic practice emerges from the intersection of pictorial tradition and the possibilities offered by digital tools. I trained in painting, drawing, sculpture, and art history, where the body and matter were always central: working with my hands, feeling the materials, accepting error as part of the process. However, I belong to a generation that has seen painting expand into digital territories that do not replace the material, but rather transform and prolong it.
In my work, painting is not only a technique, but also a theory and an experience. I am interested in thinking about how its constituent elements—color, matter, surface—behave when transferred to virtual spaces, where textures float weightlessly, where physical laws exist only if we choose to simulate them. There, painting dematerializes, but does not disappear: it becomes a utopian experience where the material persists in simulated form.
My research explores the tension between the organic and the inorganic, the traditional and the contemporary, the physical and the digital. I am drawn to that threshold where forms merge, where the artificial approaches the living. The landscape appears in my works as a hybrid territory, constructed with codes and data, but evoking natural and spiritual memories. Thus, technology does not oppose tradition, but rather extends it into an expanded space.
I work with both traditional techniques, such as oil painting, and virtual reality programs, such as Blender, or 3D environments. Each medium imposes its own rhythm, its own type of error, and its own relationship with the body: the slowness of oil painting versus the editable fluidity of digital space. This friction of speeds allows me to think of artistic practice as an expanded continuum of the pictorial.
Ultimately, my work seeks to question how we perceive the world in an age traversed by screens and virtual environments. By imagining landscapes that breathe, float, or transform into immersive environments, I invite the viewer to reconsider their connection with nature and with the boundaries between the real and the simulated. My work is situated in that intermediate space, both nostalgic and futuristic, where the memory of the organic dialogues with the immateriality of the digital.
In my work, painting is not only a technique, but also a theory and an experience. I am interested in thinking about how its constituent elements—color, matter, surface—behave when transferred to virtual spaces, where textures float weightlessly, where physical laws exist only if we choose to simulate them. There, painting dematerializes, but does not disappear: it becomes a utopian experience where the material persists in simulated form.
My research explores the tension between the organic and the inorganic, the traditional and the contemporary, the physical and the digital. I am drawn to that threshold where forms merge, where the artificial approaches the living. The landscape appears in my works as a hybrid territory, constructed with codes and data, but evoking natural and spiritual memories. Thus, technology does not oppose tradition, but rather extends it into an expanded space.
I work with both traditional techniques, such as oil painting, and virtual reality programs, such as Blender, or 3D environments. Each medium imposes its own rhythm, its own type of error, and its own relationship with the body: the slowness of oil painting versus the editable fluidity of digital space. This friction of speeds allows me to think of artistic practice as an expanded continuum of the pictorial.
Ultimately, my work seeks to question how we perceive the world in an age traversed by screens and virtual environments. By imagining landscapes that breathe, float, or transform into immersive environments, I invite the viewer to reconsider their connection with nature and with the boundaries between the real and the simulated. My work is situated in that intermediate space, both nostalgic and futuristic, where the memory of the organic dialogues with the immateriality of the digital.
Studies
- ARTS DEGREE Universidad distrital Francisco José de Caldas, faculty ASAB, Bogota.
- CULTURAL EXCHANGE AFS HUNGARY at the Magyar-Angol College tannyelvu gimnázium.
- DRAWING COURSE at Academia de Artes Guerrero and at Academia Buhardilla.
- MODELS FOR DISASSEMBLY WORKSHOP - Idartes Institute taught by Trixi Allina.
- WORKSHOP MODELS TO DISASSEMBLE - Idartes Institute; in charge of the teacher Manuel Santana.
- WORKSHOP OF ART, CULTURE AND ARTS, FABRICCA; in charge of Diana Carolina Montoya.
Exhibitions
-Exhibition, Poca monocromía, Obras de calle Bogotá, Colombia 2025
Exhibition, Artist at LAYER, 2025.
-Exhibition Artist at SOLENE Gallery, England 2025.
- Exhibition "Canal Street Show" Lume Studios, Broadway, NYC 2024.
- Artist and exhibition at the gallery Vernissage 2024.
- Exhibition "Hacking Arts Fest" Luminarium.io in Medellín and Bogotá, Colombia 2024.
- Exhibition "Southern Cross Lane" Gallery Future.io in Melbourne 2023 - 2024.
- Exhibition "Follow The White Rabbit" Gallery Future.io in Brisbane 2023.
- Exhibition Hola METAVESO Medellín University, 2023.
- Exhibition "Community Gallery #21" with ImnotArt in Milwaukee, 2023.
- Solo Exhibition "Flowers Never Die" in the Hyperfy Metaverse, 2023.
- Exhibition "Consciousness of the Flowers" with artDao in Denver Colorado, 2023.
- Solo Exhibition "Bloom" in the OM Metaverse, 2023.
- Exhibition with Future.io gallery and knoworigin in Miami, 2022.
- Exhibition Expression of crytoart in Colombia, MOCA at shilling-point, 2022.
- Curatorial project with Museo cryptoarte MOCA at the shilling-point event DEVCON Bogotá, 2022.
- Exhibition at the Komanage Biennial, Turkey, 2022.
- Exhibition Hola METAVESO Bogotá, 2022.
- Constant exhibition in SuperRare Gallery, 2022.
- Illustrator of the book publication toolbox "14 models to disassemble CREA program" Idartes, 2018.
- Participation in the book "poetics of the print" collective work student teacher in printmaking, 2018.
- Matriculation of honor awarded by the Universidad Distrital in 2011 and 2014.
- Exhibition in SALÓN INTER-UNIVERSITARIO ASAB 2013 series of paintings "Fragments of Memory", 2013.
- Exhibition at CASA ABIERTA two-dimensional salon 2011 and techniques of expression and morphology, 2011.
- Sample project test representing through drawing, the book "Point, line on the plane of KANDINSKY", in the academy of arts guerrero, 2009.
