
My work lives at the threshold of science, art, and invention. Like a contemporary Renaissance journey, it merges hand-drawn systems and digital tools to ask how we can feel, think, and build with the world—not above it.
This is your invitation into that unfolding journey.
Navigate the Map of the Renaissance Man below.

Speculative audiovisual piece developed during a residency at INAV (Instituto Nacional de Artes Visuales, Montevideo). It imagines a future Montevideo inhabited by post-human hybrid fauna—part memory, part algorithm—emerging from ecological collapse and cultural drift.
The piece blends charcoal and pastel drawings with Natron/AfterFX 2D layered animation and Comfy UI generative AI finish.
Its soundtrack, composed from processed field recordings and synthetic voices, evokes a layered sonic ecology.
The production is underway, and consists of an evolving installation and short film: a mythic bestiary rendered in code, noise, and dust—an urban hallucination at the edge of history.
This project is becoming a hinge between my analog roots and system-based futures, between ecological imagination and sonic poetics.
It’s not post-apocalyptic. It’s post-anthropocentric.

The piece blends charcoal and pastel drawings with Natron/AfterFX 2D layered animation and ComfyUI generative AI finish.
The city isn't destroyed — it's dreaming, feral, nonlinear.
Working on the mood for this steampunk adventure, which will include music extracted and mixed from The Quarterline Ensemble, rec by Erik Culp at Reg Tow Truck studios and edited and mixed by myself. Discover what this ensemble is all about
Sonically, it pulls processed field recordings, synthetic voices, and the rhythmic metallic clank of a world rebuilt from water and wind.
Butterfly’s Beacon is a short animated film in development, created during a cinema workshop at MACA Museo de Arte Contemporáneo. It blends hand-drawn imagery with generative workflows, compositing, and sound design to tell a posthuman story of collective flight and luminous resilience.
Instead of classical frame-by-frame animation, it uses layered graphite drawings animated via Natron, After Effects, and ComfyUI. Each movement arises from parameter-driven modulation, simulated flicker, and AI-guided morphing—creating a hybrid between analog texture and synthetic motion.
This project represents a technical shift: my first testbed for integrating generative tools into a poetic audiovisual language grounded in drawing and sound.

Experiments layering footage with character design — hand-drawn surreal lifeforms that became the visual vocabulary of the film's world.

Techniques: handrawing, AI animating individual elements, chroma key layering with parameter modulations in reaper, sound design, 2D-3D hybrid workflows

Surreal lifeforms drawn on paper and reimagined across digital workflows. This series bridges analog technique with speculative biology—emerging from napkin sketches into full gallery pieces shown in Barcelona and Chelsea.
A generative journey through myth, math and imagination.

Using pencil, oil pastels, watercolor, and wood-print transfers, I developed a visual language of impossible biomes—Pisces Chromaticus, Helix Sensorius, Pyrotheros...
Each drawing was scanned and layered digitally, animated in some cases, always refracted through a generative lens.

Wood-print character design in charcoal and oli pastel on wood plank, 80cm x 60cm.
Vernissage at Agora Gallery Jan 2025, Chelsea NYC: from the napkin to the mecca in 365 days.

This work explores how impermanence can be experienced sensorially — a meditative space built collaboratively during an immersive art residency in Florence, partially funded by the Canada Council for the Arts.
The installation combines analog drawing and painting with digital and AI-assisted workflows. Hand-made visuals are animated and composited using node-based pipelines (Natron) and AI-assisted animation tools (ComfyUI), while Pure Data drives generative sound, spatial audio behaviors, and temporal structure.
The piece pays homage to Galileo Galilei and the evolution of human thought — from geocentrism to posthumanism — through a 6-wall projection system in the candlelit vaults where Machiavelli once lived and breathed.
This is how I started the tale, in the streets of Florence, before they submerged into the cellar of Pallazo Machiavelli...
“Picture this scene with me.. a droplet of liquid metal flying accross the emptyness of space, and by a cosmic coincidence begins a dance around this fountain of energy, highly attractive and engaging being, the one we call Sun..."
In preparation for the exhibition, I painted a Pisa tower at the Attic Studio and projected animated falling balls, recreating Galileo's famous experiment.
The evolution of human thought is of big interest to me, and paying homage to renaissance art and secular thought through the great minds of the renaissance was my main objective.
Bohemian Underground is the sum of all these territories: a creative collective where cultural memory meets contemporary tools. Founded by me in 2010 (originally montevideo underground), it operates as an artistic identity for a practice that spans generative visuals, live AV performance, music, installation, and community education.
BU is less a brand and more a stance: that ancestral rhythms and advanced technology are not opposites, but resonances.
Community-rooted power trio in Sierras de Rocha — improvised Afro-influenced music, audio production, video direction, and ecological grounding where Wirapitá lives.
Every Sunday, in a magnificent retreat near José Ignacio, this workshop unfolds through sign-based conduction.
Teaching music becomes a social practice here—where anyone, regardless of training, can shape sound and listen together.
Beyond performance, Tahona Tribal Trio is embedded in community life, supporting local cultural activity and informal knowledge exchange. The project strengthens my practice in audio production, collaborative creation, and media documentation, while reinforcing the social and environmental grounding of my broader creative-technology work.
Son et Lumière is the crystallization of years spent behind the drumkit, learning how to listen. It began as a desire to go beyond rhythm and began musical compositions.
At its core, Son et Lumière functions as a custom audiovisual engine: Pure Data for control logic, combined with TouchDesigner and Resolume for visual generation and projection mapping. MIDI, OSC, and physical sensors translate rhythm, gesture, and environmental input into synchronized image–sound behavior.
Along with this techie setup, we use sign direction for improvising, we generate live loops from keyboards, violin, sax all sorts of other instruments.

Custom AV engine at home base in Punta del Este. Pure Data, TouchDesigner, Resolume, MIDI, OSC, and physical sensors — all converging in one room.
Along with digital projector, we use old timey projectors and custom made 35mm slides with liquid lights between glass frames.
One of our many performances, dinner shows and social interactions, via our AirBnB Experiences.
No two shows are the same: each is an experiment in rhythm, light and improvisation through acoustic and digital instruments.

A series of hands-on workshops and courses developed and taught at Universidad de Montevideo and UdelaR, focused on real-time audiovisual programming. Students learned to build generative environments using TouchDesigner, Pure Data, Arduino, and sound-reactive systems.
These academic projects became experimental platforms—blending design, code, sound, and space. The courses emphasized ecology, improvisation, and data-driven storytelling, with outputs ranging from interactive installations to live coded performances.

From Raspberry Pi and Arduino sensor integration to OSC, MIDI, and spatial audio — students build fully reactive AV systems from the ground up.

15-week curriculum for all first-year engineering students at UdelaR, Uruguay's national university. Where technical rigor meets artistic experimentation.
From early chemistry experiments and classroom exposure to PhD research in fluid motion and energy-saving patents, this is the origin of my systems thinking—where scientific modeling, creative problem-solving, and a lifelong dialogue with experimentation first took form.
Montevideo Underground marked my first solo musical explorations—live compositions with loop station, vintage synths, and real-time visuals using analog liquid light. Rooted in collaboration and teaching, it laid the foundations for SetL and my audiovisual language: organic, expressive, and coded from emotion as much as from logic.

Experiments with all sorts of retro stuff, even 35mm and slide projectors with colored oils and gliceryne to generate an organic backdrop to our trippy music

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From underground venues in Toronto to coast-to-coast tours, I played drums with post-rock collective Mind of a Squid, co-authoring two studio albums and joining SOCAN.
We occasionally reunite as the Quarterline Ensemble, a seasonal recording project rooted in old friendship, improvisation, and sound experimentation.
This is a video of some music we jammed in Ontario with the visuals I use in Son et Lumiere
Miniponics was a student-led hydroponics system developed with Arduino, sensors, and real-time dashboards. Funded by a national tech grant, it became a tool for science education and outreach—bridging sustainability, engineering, and playful learning across schools, rooftops, and disciplines.

Hardware schematics showing sensor integration, Arduino control logic, and irrigation automation.
Engineering meets ecology.

Presentations at fundacion julio ricaldoni, ingenieria de muestra and many schools, as part of the grant received from the government

High-res drone imagery, Python and MATLAB pipelines, and machine learning models fueled this early-2010s consulting company. From highway surveillance to forestry tree-counting, I applied real-time computer vision to bring scalable insight to infrastructure and agriculture in Uruguay.

Computational processing of drone imagery for infrastructure analysis. Real-time detection and classification at highway scale.

Drone survey setup for large-scale forestry analysis. Aerial remote sensing applied to tree detection and vegetation classification.
We founded Wirapitá to turn local waste into high-efficiency biofertilizers. I led R&D, branding, blog writing, and workshops—supported by Uruguay’s innovation agency (ANII). The project bridges sustainability, storytelling, and science communication.
A real-world prototype of how creative systems thinking shapes the ecological transitions we urgently need.

Label design, botanical illustration, and catalog — the full communication system built alongside the science.

Fish, poultry and slaughterhouse waste processing in Rocha — the starting point for Wirapitá's biostimulant production and triple impact begins.
Where chemistry meets territory.

Blog Illustration Series: Environmental blog image set showing soil, fungi, and bio life cycles.
Wirapitá is a prototype of what happens when creative systems thinking meets ecological urgency — invention woven together with communication, logic into beauty.
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