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Having left traditional forms of architectural practice, it remains the recurrent subject of my art.

My latest project babylon_finafinal_v00 was exhibited in the joint exhibition overflow at hARTslane Gallery in London, in March 2023. It is the first of a series of models about lost cities, and how they can inform us about the ones to come. An inverted tower of Babel is surrounded by a vaporous scaffolding. Inside its pyramid, windows overlook cities that don’t exist. These images were generated in collaboration with a text-to-image machine learning algorithm attempting to reconstruct views from cities that don't exist. It was made with the drive to reflect upon language and its possible contemporary evolutions and decays.

Writing was also central to my project The life we lived without a City. A machine inspired by telephone exchange that generates fiction through texts written in the form of letters.

The narrator describes his city to a person they wish could visit it. The viewers-turned-composers could build over 700 different combinations of cities, printed, to be carried. It is through details, narrated experiences, and ordinary events that human attachment occurs, this project intends to reveal these layers - exhibited at the graduate show Shivers, Goldsmiths University (2021).

I kept exploring this theme in an interactive fiction that was featured in the festival Peckham Digital 23. ‘And you, what are you searching for?’ unfolds throughout a Parisian apartment where scattered objects hold stories about previous inhabitants - you only meet them by collecting these fragments of memories. Instead of building the architecture, you are invited to compose with the lives that might have happened within it.

With a strong belief that crafting open platforms for diffusion and expression is as important as developing a personal practice -or is itself part of the art - I engaged in curatorial activities by co-founding the festival of computational cinema Spectacle for Later. Its first edition was held at Rio Cinema, London in November 2022 and gathered projects of 25 artists working across audio-visual pieces, performances, and installations.

In regards to my work in El Sur, I have asked myself what remains from a first encounter with a metropolis like Mexico City? Movimientos tan pequeños results from a 4-week research-led practice exploring ways to map a city that - like all cities - could never be grasped. It doesn’t intend to be exhaustive, instead, the first objects on display are situated fragments. Can we consider "mapping" a collection of chosen sounds associated with written micro-fictions; the shadows that hit a room in the afternoons of late summer; the ones that purposefully sweep the walls of a convent in the south of Mexico City, and that we will never see?

This exhibition is meant to open questions about subjective recording, archiving, and mapping as potential planning tools.

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