In English, I would say 'storyteller.' I like to define it as a storyteller because my work really revolves around capturing the behavior patterns we have around technology and illustrating narratives in visual allegories that make us pause and reflect, imagine, and even dream of possibilities.
The art of new media has been around for 60 years now. It's an evolution of kinetic, sound, and conceptual art from the sixties and seventies, closely linked to performance or installation, which has undeniably gained significant prominence in the technological explosion of the last five decades.
Digital art, generative art, immersive art, and interactive art overlap as our relationship with technology has strengthened, and technology has advanced rapidly. Thus, new media art includes a profile that embraces technology and the digital or virtual dimension as its central axis.
In the socio-cultural context we live in, I find that we understand technology as a productivity tool, often ignoring its significance in how we perceive ourselves.
Therefore, through my work, I try to connect ideas and draw lines between elements that make us take a step back to gain perspective and find intentionality in how we approach the future. The media I use are at the forefront of technology to present works that communicate humanity in the most innovative way possible.
Firstly, it would be to have fun while working. The pace at which technology evolves generates constant pressure to keep up with every aspect of its progress, and that process is unsustainable. Therefore, understanding the inherent irreverence in that pace and enjoying that observation is key to finding the core threads of interest in relevant culture, which can then be translated into my work.
Secondly, I'd emphasize the importance of developing personal work with a specific point of view over the importance of creating universally appealing work.
I believe they are an essential part of the process. My work can be applied to more commercial or more artistic endeavors, and in 90% of cases, I'm not just dedicated to doing the work itself. I also handle negotiating terms, promotion, work documentation, press communication, social media, fundraising, and production design. Representatives should be present in most autonomous creative work because the artist or designer has to engage in countless other functions that aren't the work itself, and in the vast majority of cases, the work suffers significantly.
The art world has been skeptical of digital art for decades because the obsolescence of digital art has always been assumed as indisputable.
As we witness how the digital realm is here to stay, the Web3 community and technologies like blockchain represent the consecration of the digital as part of our future and the assimilation of technology as an important means within the art world.
Despite the perceived complexity of NFTs and their relationship with crypto volatility, we forget that we're living in years of disruption and immense change. The key aspect of this industry is that we have new ways to preserve digital art and to care for the authors and collectors, ensuring that digital art is accessible and global. Major auction houses and cultural platforms are already embracing the use of blockchain, and major art institutions welcome this technological advancement to establish digital art, virtual art, and increasingly video art, photography, physical sculpture, and even classical paintings to have a digital counterpart, ensuring that ownership of physical art is also reflected in the digital registry.
I won't even delve into the importance of royalties for authors in the NFT market's artwork resales, which not only make the art world more economically sustainable for artists but also ensure much more transparency in the market. I believe participating in the Web3 space on a community level as well as in the buying and selling of art is as essential as learning about artificial intelligence; these are new languages we have to adopt because they are here to stay.