Works

0-Player

2024–25
Digital pet, Arduino board, OLED screen, nail gel, nail charms, photography
Accademia di Belle Arti di Brera, Open Day 2025, Milano (IT)

0-Player explores anthropocentric representation and emotional attachment. A digital pet device has been emptied and reconfigured: its interior replaced with an Arduino board and an OLED screen running a Game of Life simulation. The exterior has been reshaped using gel resin into organic, ornamental forms.

The project challenges the conventional idea of a “pet” by removing its dependency on human interaction. Instead of a digital creature awaiting care and attention, and whose representation is catered to the human gaze, the 0-player Game of Life generates life autonomously—rhizomatic, multiple, and beyond user control. The materials are central: the retro digital pet evokes childhood nostalgia, while the nail resin and charms recall hyper-feminine aesthetics, queer imagery, and kitsch. Combined with coding, electronics, and mathematical logic, the work also aims to make a statement about the gendering of technological practices.

The Pond

Second version

2024
Net art and installation on screens
Fundación Épica La Fura dels Baus, Badalona (ES)

“Mining pools, algae and floods, from the artificial broth a digital life is born.
Aerial perspective isn’t tactical, invaders are no longer the enemy, guns do not kill anymore.”

This second version of the net art project The Pond was installed in the exhibition EL SUCESO, curated by Colectivo Anemoia at Fundación Épica La Fura dels Baus, Badalona. The piece features a Game of Life simulation into which a Space Invader character has been inserted. This pixelated figure traverses the grid, influencing and being influenced by the generative cell patterns. The simulation runs over satellite imagery of mining pools, flood zones, and other natural or anthropogenically altered terrains. The images are sourced from governmental satellites, including Coordenacao-Geral de Observacao da Terra (INPE) and NASA’s Goddard Space Flight Center.

The idea behind the project is to rework the meaning of a certain type of image. Aerial perspective is historically linked to control, surveillance, and military strategy. Within the piece, the Space Invader is no longer an enemy but a wandering presence, and the Game of Life patterns—commonly named “guns”—generate floaters without targets. Despite the aggressive connotations embedded in the language of these elements, the project resists a war-like interpretation. Instead, it creates an environment—alive, shifting, and indifferent to human control.

The Pond

2024
Net art and installation with PC, analog TV screen, and plastic flowers
Milano (IT)

In this first version of The Pond, the focus is on constructing the digital environment itself. What appears on the screen is not a pre-recorded video, but an ever-evolving interaction between lines of code. Displayed openly on the PC, the code functions as both medium and subject. As the title suggests, the visual impression evokes a pond or aquarium—a coded ecosystem, alive in its own way.

The presence of artificial flowers emphasizes the idea of a synthetic natural world. Rather than critiquing artificial life, the installation presents an alternative form of sensibility—one that emerges not from biology, but from computation. It invites the viewer to observe a different kind of living presence: one that resides in digital patterns and code interactions.

My other half / There is no other half

2023

Installation with photography documenting the hair dying process, living work.

In the exhibition METAMODERNISMOS Zer0 Retención!, SAC Sala de Arte Contemporáneo. S/C de Tenerife (ES).

ElectroOrganico

In Escena19

2022

Installation with sculptures, wearable electronics, pink plasticine, and printed images.

Escena19, Tenerife (ES)

ElectroOrganico is a project that explores the fusion between organic aesthetics and electronic components. This installation features the pieces Prosthesis, Electrobicho I, and Electrobicho II, presented alongside circuit-building materials and a reference wall composed of images ranging from bioluminescent sea creatures to illustrations from War of the Worlds, and abstract works by Kandinsky and Miró. These references help construct a visual rhizome, where matters of anatomy, electronics, fiction and narration coexist. The use of pink modeling clay and other synthetic, soft materials reinforces this interplay between the organic and the technological. Light plays a central role in the installation: the sculptures emit a soft glow that evokes living, breathing organisms—more creature than machine—suggesting a sensibility rooted in the oceanic, the cellular, the affective.

While Electrobicho I and II resemble small luminous critters, Prosthesis was conceived as a wearable enhancement of the body. It responds to a speculative question: “If I want to glow to feel beautiful, how do I evolve fast enough to achieve bioluminescence?” The answer comes in the form of this luminous, techno-synthetic adornment – technoluminescence. The project’s aesthetic and conceptual choices reflect broader questions around beauty, intelligence, and gender. Through informal materials and intuitive constructions, ElectroOrganico offers a soft counter-narrative to rigid, anthropocentric ideals of the body—imagining a world of synthetic organisms where emotion and circuitry coexist in fragile, luminous forms.