an idea in the life
It is difficult to pinpoint when this journey began. At what moment, and which parts of the works created, constitute a "recognizable body" that continues to represent someone. It’s also challenging to determine the right perspective, as I must adopt the proper distance to discuss my own work, even though I am its creator and it spans a long period of time. If I had to define the activities I have undertaken, they would not resemble a collection of items arranged in a room, as though some objects were carefully selected. Instead, they would be more akin to a leafless tree, with its various branches extending like the works themselves—main branches addressing recurring thematic lines, while more anecdotal ones would represent offshoots farther from the trunk or perhaps hidden from view. Rather than providing a chronological account of my artistic experiences, I can summarize that my work has explored the use of writing systems as a territory for aesthetic experimentation. Its representation across different formats led me to connect calligraphy, automatic gestures, and asemic writing with three-dimensional virtual spaces. This, in turn, gave rise to what I aim to present on this page under the concept of «Infinite Landscapes».
verbal language
Regardless of that detail, I find it relevant to mention some aspects related to the artwork itself. A fundamental element is precisely linked to the use of language. Starting from the idea that an image should evoke certain emotions, meanings, memories, or concepts in the viewer, I noticed that this communication became more intense when it involved recognizable elements (a chair, a sunset, a house…). On the other hand, I understand that just as pictorial representation is not limited to familiar objects, thoughts or ideas should not be constrained by verbal language either.
I believe that the practice of depicting objects is a task that, at some point, ceased to interest me, leading me to delve into other approaches akin to what is known as abstraction. This involves surrendering to a pleasurable, irrational experience by engaging materials with the surface—an action devoid of any intention beyond blending colors, intensities, luminosities, saturations, transparencies, textures, supports, or other processes guided purely by intuition, without a preconceived idea of how or when a composition should end. I should add that, in this sense, I found significant parallels with the practice of musical improvisation, which later led me to abandon musical performance, focus on composing music for dance, and develop my doctoral thesis on the relationship between art and synesthesia.
For some reason—perhaps to shield myself from the disapproval or lack of connection to these results by those around me, who observed these "abstractions"—I began documenting these pictorial experiences in writing. Over time, they progressively overlapped with life experiences, anecdotes, disappointments, and hopes. I often referenced people who appeared in these pseudo-narratives, omitting their identities and using initials that I sometimes encrypted in other writing systems, such as the Cyrillic alphabet.
During those episodes, I experienced a turning point: I discovered how alphabetical signs could carry meaning in and of themselves. For instance, the angularity or sinuosity of a letter, its symmetry, complexity, or specific plasticity could embody elements such as behavioral norms or personality traits. These symbols also responded to concrete descriptions that could amplify or explain the reality I was experiencing. For example, the letter "Y" came to represent a moment in my life when I had to separate from loved ones with no possibility of return. I interpreted the symbol as a timeline reflecting my biography: starting at the bottom, where my existence was connected to family and friends, and arriving at a crossroads. At this juncture, one part of me (represented by the right branch) was left behind, while the path forward (the left branch) represented the direction I had taken, which moved me further and further away from my former self and surroundings. At that moment, I drew a figure of a human being intersected by the letter "X." However, because the letter was slightly tilted, the feet of the figure obscured one of the letter's ends, making it appear as a "Y." A classmate who saw the drawing commented, "Generation X." I liked the description—at least it had evoked some kind of reaction.
the medium
I could include dates when I first got access to a computer with a program installed—a program that wasn’t widely adopted—on which I conducted my first experiments. I began testing various approaches, such as enlarging the font size to fill the composition’s boundaries, experimenting with different weights, modifying the outlines or inner spaces, and exploring line types: continuous, dashed, dotted, or broken lines with straight or rounded edges. I don’t recall whether it supported color or if the printer was black and white, but it did support grayscale. Using this, I created several series featuring the evolution of the letters “X” and “Y” with various line effects, which, once printed, I intervened with manual drawings and added human head motifs.
Experimenting with digital technologies wasn’t so much a replacement for traditional techniques but an evolution in the working process. Previously, producing works involved series of drawings by combining the aforementioned elements and motifs. The incorporation of digital tools allowed the development of a "serial component" in the drawings, enabling multiple combinations and variations of the same piece. Moreover, it facilitated creating bridges between visual and auditory realms by producing works with moving graphics in formats such as video and animation, incorporating sound. This became a source of experimentation where manual procedures were combined with computational processes.
Cuerpo con Alfabeto Protoíndico. Animacion GIF.
endangered writing systems
There are approximately 179 writing systems still in use today. However, the vast majority are used by very small populations, and some are at risk of disappearing in the face of a dominant global culture. While the use of specific writing systems to generate new narratives—primarily in combination with human figures and virtual spaces—often follows aesthetic criteria, certain systems have been more widely developed. For instance, the Proto-Indus script, which emerged in the Indus Valley around 2500 BCE, became extinct by 1200 BCE. Others, like the scripts used by the Mangyan ethnolinguistic communities on Mindoro Island in the Philippines, remain in use today
There are approximately 179 writing systems still in use today. However, the vast majority are used by very small populations, and some are at risk of disappearing in the face of a dominant global culture. While the use of specific writing systems to generate new narratives—primarily in combination with human figures and virtual spaces—often follows aesthetic criteria, certain systems have been more widely developed. For instance, the Proto-Indus script, which emerged in the Indus Valley around 2500 BCE, became extinct by 1200 BCE. Others, like the scripts used by the Mangyan ethnolinguistic communities on Mindoro Island in the Philippines, remain in use today
There are approximately 179 writing systems still in use today. However, the vast majority are used by very small populations, and some are at risk of disappearing in the face of a dominant global culture. While the use of specific writing systems to generate new narratives—primarily in combination with human figures and virtual spaces—often follows aesthetic criteria, certain systems have been more widely developed. For instance, the Proto-Indus script, which emerged in the Indus Valley around 2500 BCE, became extinct by 1200 BCE. Others, like the scripts used by the Mangyan ethnolinguistic communities on Mindoro Island in the Philippines, remain in use today
After the digitization of asemic alphabets and their application to virtual environments, different formats such as digital prints or video animations are produced. Some of these digital files are marketed as NFTs
Virtual Writing Spaces
First infinite Landscapes
Some practices have evolved into what is known as asemic writing. These results, in various formats and techniques primarily on paper, are part of series that stem from converting the original works into digital files. These files are then modified and varied to produce different types of works, such as digital prints or animated video films