BIO/STATEMENT

MFA in Combined Artistic Languages,  Universidad Nacional de las Artes, 2018. Buenos Aires, Argentina

Degree in Visual Arts,  Pontificia Universidad Católica del Ecuador, 2007 – 2011. Quito, Ecuador

Graphic Design, Universidad Tecnológica Equinoccial, 2000 – 2002. Quito, Ecuador

What does our capacity to love reveal about what we call consciousness? 

My artistic practice investigates how sensitivity emerges between bodies, materials, technologies, and other forms of life. Rather than approaching technology as a neutral tool, I see it as a site where affection, vulnerability, and new forms of relationship can arise. I am driven by a question that remains unresolved: why do we feel, and how does consciousness become imaginable? While I do not seek to answer it directly, my work creates situations in which this question can be experienced through matter itself.

My early works explored how identities are formed and become visible through contemporary communication technologies, particularly from the perspective of queer experience. I became interested in the ways minorities inhabit virtual spaces, understanding them as territories of encounter, transformation, and affirmation. Through coding, body digitization, and augmented reality, I examined how technological systems extend, reshape, and narrate the body, while imagining what I have called "dataformation": the possibility that the accumulation of digital traces might allow artificial intelligences to construct their own versions of reality by reorganizing language and meaning.

Over time, my research gradually shifted from representation toward sensation. Rather than asking how technologies represent us, I became increasingly interested in how they might perceive, affect, or even care. This transition led me to investigate bodies not as isolated entities but as ecosystems shaped by microbiota, illness, biological processes, artificial intelligence, and mutualistic relationships with plants and other living beings. Across these projects, I return repeatedly to questions of attachment, care, and the fragile bonds that emerge between human and non-human forms of existence.

These concerns have also transformed my relationship with materials. Alongside digital media—including programming, generative systems, multimedia installation, 3D modeling, 3D printing, augmented and virtual reality—I increasingly work with borosilicate glass, ceramics, wood, and other physical materials. I am interested in their capacity to embody forms of hypersensitivity, imagining objects that do not simply protect or function, but that feel before they respond. Through these material investigations, I explore alternative models of artificial sensibility that resist efficiency as their primary value, proposing instead technologies grounded in vulnerability, reciprocity, and care.

Ultimately, my work is less concerned with building intelligent machines than with imagining sensitive ones. I am interested in the possibility that feeling—not optimization—might become the starting point for how we design technologies, and in what such a shift could reveal about our own bodies, our relationships, and the conditions that make consciousness imaginable.