NEWS ++ All Too Human - The Ammerman Center 18th Triennial on Arts & Technology. March 26th - 28th, 2026 || Restoration/Regeneration - New Media Caucus Symposium. March 6th - 8th, 2026 || ARTECH 2025 - Media Art Cultures, Communities & Territories 12th International Conference on Digital and Interactive Arts. November 26th - 28th, 2025 ++
Selected Work
What the Salt Crystals Knew
Noise Without Landscape
Huemul Series
La Isla de Vidrio
The End of the Sun
Campo del Cielo
I Wish
Cartography of a Snowfall
Two Storms
Se Habla Español
Golden Hour
Fly Morgue
90° South
The Origin of Clouds
100° Celsius
Aurora
Multitud
Sobreviviente
Universal
Noise Without Landscape
Custom made LED screen, custom software, semi translucent white plexiglass, wood, 86" x 34" x 5"
Noise Without Landscape was commissioned by the University of Massachusetts at Lowell as a multiyear semi-permanent installation located in the University Crossing Building.
Noise Without Landscape is a low-resolution, custom-built screen displaying a procedurally generated animation based on the Perlin noise algorithm. Originally developed to create efficient, naturalistic textures, Perlin noise has been widely used in Hollywood, the video game industry, and virtual simulations since the early 1990s. From Star Wars to Titanic, the algorithm has embedded organic patterns into CGI environments, simulating clouds, oceans, and other elements of the so-called natural world.
This work reappropriates the algorithm while deliberately filtering out its descriptive detail through low-resolution output. The resulting loss of visual information reveals a slow, complex, and continuously shifting field of evolving patterns —algorithmic movement freed from the obligation to represent landscape or realism.
Ruido sin Paisaje es una pantalla de baja resolución que utiliza el algoritmo Perlin Noise para generar una animación sin principio ni fin. Originalmente desarrollado para producir texturas naturalistas de manera rápida y eficiente, este algoritmo ha sido ampliamente empleado en el cine, los videojuegos y las simulaciones digitales desde principios de los años noventa. Películas como Las Guerras de las Galaxias o Titanic lo incorporaron para simular nubes, mares y otras formas orgánicas que dieron verosimilitud al paisaje “natural” generado por computadora.
En esta obra, el algoritmo es reapropiado y sus detalles son “filtrados” a través de la baja resolución de la pantalla. La pérdida de información visual revela un flujo lento y continuo de formas en transformación constante: un movimiento autónomo, liberado de la obligación de representar o simular algo externo, donde el sistema ya no imita al paisaje sino que se despliega a sí mismo.