Tengo el honor de ser uno de los artistas seleccionados para Counterpublic 2026: Coyote Time, la tercera edición de una de las trienales de arte público más grandes de Estados Unidos, con sede en St. Louis. Coyote Time es curada por Jordan Carter, Raphael Fonseca, Stefanie Hessler, Nora N. Khan y Wanda Nanibush.
Mi proyecto, curado por Nora N. Khan, explora el conocimiento lateral: lo presente, lo marginal y lo ausente en los sistemas de saber.
Septiembre 12 – Diciembre 12 2026. Link en bio para el anuncio completo.
I’m honored to be one of the artists selected for Counterpublic 2026: Coyote Time, the third edition of one of the largest public art triennials in the United States, based in St. Louis. Coyote Time is curated by Jordan Carter, Raphael Fonseca, Stefanie Hessler, Nora N. Khan, and Wanda Nanibush.
My project, curated by Nora N. Khan, explores lateral knowledge: what is present, what is marginal, and what is missing within systems of knowing.
September 12 – December 12, 2026
Link in bio for full announcement.
#CoyoteTime #Counterpublic #counterpublic2026
@counterpublic@prometheanwatch
Cuando hay santos nuevos los viejos no hacen milagros.
STATION 3.1: THE PHYSICAL A clay 3d printer is placed in vintage wooden furniture, given the novelty of the technology used in combination with an object from a past period of time there is sentiment of rarity that makes harder to the viewer to identify itself within an specific time period, such condition repeats in several of the other pieces as well.
The printer is activated during specific times of the installation, so viewers can have the opportunity to watch the printer creating these mycelium-ai hybrids. This introduces a time element into the reading of the work where questions of whether the pieces are new or old as well as about the nature of their materiality, as clay 3d printers are objects still too novel for people to easily recognize them. The presence of the clay 3d printer challenges viewers to question the reality of the rest of the elements presented in the space as there are similar pieces located within other stations.
Altered States of a forgotten but present age.
SCOBY (symbiotic culture of yeast and bacteria) over vintage wooden center table
Dimensions: 40”x30”x30”. 2022
Especular sobre cómo organismos inteligentes podrían regenerar las áreas afectadas por las actividades mineras en la selva venezolana - Para mayor información sobre lo que está sucediendo recomiendo seguir a @sosorinoco En: Speculating on how smart organisms could regenerate areas affected by mining activities in the Venezuelan jungle - For more information about what is happening I recommend following @sosorinoco
Hasta el tuétano (Up to the marrow)
Cyanotype on paper of map of Venezuela made in 1748 by Jean-Baptiste Bourguignon d’Anville and agricultural colonial instruments made of bones and iron.
8.5x11 in.
A fragment of my work Espacios Latentes is currently exhibited in the show Another World is Possible at @centruldeinteres , curated by @antolve . This iteration builds on my early experiments with machine learning in 2020, when I trained a StyleGAN2 model on 5,000 maps from @david_rumsey_maps . In 2024, using Stable Diffusion XL and Deforum, I’ve created a new video that revisits this archive. The work probes the dual nature of technological tools—maps and AI—as systems for both illuminating and controlling reality. Maps, often perceived as neutral representations, have historically been used not just to chart the world, but to impose power and define boundaries, shaping the way we think about territory and identity. In a similar vein, AI offers a new way of constructing and interpreting reality, opening vast possibilities while also presenting the risk of reinforcing hierarchies and exclusion. Both technologies, at their core, serve as frameworks for making sense of the world, but with that power comes the ability to shape what is seen and unseen, who belongs and who does not, challenging us to consider the consequences of such mediated visions of reality.
