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About

1975 born in Galicia, lives and works in Madrid, Spain.

PhD in Information and Communication Technology, studies in Computer Science and Programming at Massachusetts Institute of Technology [MIT], Postgraduate studies in Computer Graphics [2010], Master degree in Digital Modelling and Rendering [2004], and D.I. degree in Engineering [1999].

After graduating in engineering, started a career in visual arts as commercial designer for high-end advertising agencies and magazines like BBDO, Leo Burnett or El Mundo magazine, winning several awards and recognitions as visual artist. Fine Arts University professor and author of several papers about the role of computers in the production of contemporary art today, his artworks has been exhibited in galleries across the world including New York, Los Angeles, Hong Kong, London, Athens and Cardiff.

Like many children of my generation, I acquired my first computer in 1984, the iconical ZX Spectrum 48k.
Since that very moment, I felt that small device was a powerful creative tool right in my hands.

I'm specially interested in the way digital technology is altering the production of art today, and its potential to define our aesthetic experience and give shape to our digital culture.
In my works I research the expressive capabilities of the digital media, by creating images that result new and suggestive, while unleash visual associations. My interest is mainly based on both our attitude in front of the images created by the computer, and the attitude of the computer in from of us.

In my particular position as both producer of artworks and writer of code, I perceive this as a truly momentous for both art and technology realms, and the constant feedback they are now sharing. In my photorealistic work, I developed a strong technical understanding of the software and the generation of synthetic images, deep enough to be able to synthesize images that don't look synthetic at all. In fact, far from resulting artificial, the images result strangely natural and close.
The magnetism of these images refute the stigma of artificial and soulless that is usually associated to computer art. The meticulous elaboration behind each image becomes transparent, the technology finally disappears, and the images leave us alone in front of an emotional observation.

Formally speaking, my images moved from a spotless photorealism to a sort of abstract aesthetic in my latest projects. Images like the Poetry from a Computer's Mind series were designed by using the programs in their regular procedure, but to achieve the appeal of the Visions of the Infinity series –an essay about the emotional influence of deformed light– I needed to develop a custom workflow, deconstructing the whole digital procedure and recombining the resulting components in an unusual way, which ends with a suggestive look while still retain a sense of familiarity in the final output to keep calling the viewer emotional background. Finally, in generative projects like Catharsis, I developed the algorithm myself, achieving a maximum creative freedom.
In all cases it is clear my very personal involvement with the subject treated.