Audiovisual Production, Spatial Tech Architecture & Creative Collaboration · with Gracias Grecia

Tecnologia [in]visible is an exhibition by Mobile World Capital Barcelona and the Generalitat de Catalunya at Palau Robert, curated by Genís Roca. It traces twenty years of technological change through a three-act journey: technology as object, as system, and as something we shape collectively. On view 12 June to 27 September 2026.

Gracias Grecia handled exhibition design and creative direction. I collaborated on the creative and led the audiovisual production: generative video, a six-channel testimonial installation, subtitling, and the delivery schedule.

Generative video
Creative direction and full video production for an interactive room where visitors reveal footage by moving a polarizing filter. Eight everyday-technology use cases appear in two synchronized states: a photorealistic scene of the technology in use, and its X-ray counterpart, generated from a shared seed. The pipeline pairs realism and infrastructure, making invisible systems legible.

Six-channel testimonial installation
A six-channel multiscreen piece built from real testimonies about technology, produced end to end including the shoot. Before filming, a fully AI-generated reference version, with synthetic people, scripted statements, and cloned voices, previsualized the piece and set framing, pacing, and channel logic across all six screens. The final work is the filmed testimonies, synchronized across the six channels in two editing structures, one dialogic and one contemplative.

Stack: ComfyUI, Runway, Nano Banana, Claude, ElevenLabs, Whisper, After Effects, Premiere, HTML/JS

Curatorial intervention in a mall center. Body mutation in consumer space. Uses the space as a laboratory for data swarms and subjects. Speculates on post-digital life via pseudo-commercial simulations. Transforms retail areas into narrative environments through capitalist residue.

In collaboration with Yun Kima

Production Meeting is a set of wax figures cast as candles: women in period dress seated at laptops, lit during the exhibition and left to burn down over its run. The scene rewrites historical labour as digital labour, and the material carries the argument by consuming itself while the audience watches.

The figures are not modeled by hand. A flat black-and-white engraving-style image is generated to prompt, converted to a depth map through a ComfyUI workflow, then displaced onto a plane in Blender to build the relief. That relief is 3D printed as a master, a negative mold is taken from it, and the final pieces are cast in pigmented wax. Generation sets the image; the mold and the flame finish it.

Technical process:
1. Image: flat engraving-style image generated to prompt.

2. Depth: ComfyUI workflow converting the image into a depth map.

3. Relief: depth map displacing and decimating a plane in Blender.

4. Fabrication: 3D-printed master, negative mold, cast in pigmented wax.

Exhibition: figures lit as candles, self-consuming over the run of the show.

AI Tools: Midjourney, ComfyUI, Blender

Acquired by the Belvedere’s Bildarchiv & Ursula Blickle Video Archiv.

A video artwork on how we draw the line between natural and artificial. It centers on a recorded dialogue with an artificial agent whose answers, question by question, are pushed toward an absurd conclusion, staging the moment the category of “nature” collapses under its own definition.

The visuals are built as a chain of generated keyframes, not filmed footage. A reference set of video-game textures and 3D assets sets the starting point, and from it still frames are generated to follow each beat of the script. Runway animates between them: three frames per segment, moved through as a slow overhead flight, with the last frame of each export carried in as the first of the next. The result is one continuous descent through synthetic landscapes that never resolve into a real place.

Technical process:
1. Reference: Set of video-game textures and 3D assets.

2. Frames: stills generated to match the script, beat by beat.

3. Motion: Runway interpolating three frames per segment as an overhead flight, chained by reusing each segment’s final frame as the next one’s first.

Strategic approach to memory, treating artworks as hyper-temporal nodes. Challenges linear narratives through a spatial experience where the present is accessed via future speculation. Poetic reconstruction of history through visual storytelling.

>> More

In collaboration with Maximiliano Aduki

Research project developed during a residency stay at ZK/U Berlin.

Focuses on emerging Latin American artists and the body as a key element of study. Implements a methodology to exhibit colonial preconceptions and Western binaries (body vs idea). Explores the “ecto-” concept (bodies expelled from history and contained as nature) to reveal socio-political realities.

Founded with Boris Aiub as a platform to subvert established notions of aesthetic discourse and the socio-political implications of technology. Developed experimental exhibition formats from a site-specific context to push curatorial boundaries and technological discourses.

Multidisciplinary festival celebrating the Berlin-Buenos Aires sistership. Mapped self-legitimized artistic circuits outside mass-market nomenclature. Explores Argentine identity as a culture hybrid layers where nature and industry merge.

Digital ecosystem for a contemporary art gallery. Created architecture for archiving and inventory management. Balances visual design with art-market tools.

In collaboration with Juan I. Scheller

Management and production of a book-object for LAURA O. Translates design philosophy into a tactile piece without photography. Relies on the golden ratio and technical drawings to maintain aesthetic rigor.

Investigation of databases as a reflection of contemporary society. Mapped a social graph of 150 agents through digital records and objects. Displayed via random-access web archive and physical exhibition. Uses data to reveal hidden social structures.

Online festival exploring the scale where classical geometry fails. Exists in the virtual realm through non-archived live streaming. Research on hypergeographic jurisdictions and the boundaries between artworks and digital frames.

Direction of a cultural production company for multidisciplinary cultural events. Highlights include the Pirámide Selva Camp series for Cynar. Merged brand objectives with cultural scenes through pop-up events in unconventional spaces.