Interviews with Ariel Palanzone

Since I was little I was with a pencil in my hand drawing or building things for my toys. I believe that design and the desire to create are in my DNA and have always accompanied me.

Most of the time I like to start from pencil and paper sketches, do research and market analysis, write the keywords, relate them and build a concept.
Then I take that to the computer, whether it's to build a graphics system, a design piece, or an artwork.
In many cases I make models with cardboard or Styrofoam to adjust the proportions by hand and have contact with the material.

Butterflies feel in the belly. A mixture of uncertainty and anxiety, mixed with the feeling of freedom.
There is also amazement at unexpected things in the process, which is the stage that I value the most. For me the process is already the result.

I think the main characteristics are curiosity, power of observation and sensitivity.
Also the fact of never being completely satisfied, thinking that an extra option can be presented to the client, which has to do with our personal vision about the project.

I plan to advance in the development of personal objects and furniture for the industry. Bring my renderings to reality, and also parallel to it, continue with my artistic career.

That they be authentic and curious. Trust in your potential and in materializing your ideas.

I tell them to always keep moving, projecting into the future and in touch with new trends.

I wake up in the morning, I try to meditate before breakfast to clear my mind.
I start to see my notes, emails and work until noon.
Then at about 6 pm I turn off my computer to go for a walk or go to the gym.
Music accompanies me at all times.
late at night is where I usually spend more time on my personal art and design projects.

I look at Instagram Behance and Pinterest a lot to keep up with the trends, but I'm afraid I'm not alone with that.

I also like to be inspired by art and design references from the 70s and also to go for a walk to get inspired by the city and nature.

A good design from my point of view must be functional and at the same time aesthetic, pregnant, last over time, be understandable, honest and be in harmony with nature and the environment.

It is a difficult question for me to answer because it happens to me very often to return to old projects with the idea of improving them, so I would tell you that my designs are never completely closed.

It is a difficult question for me to answer because it happens to me very often to return to old projects with the idea of improving them, so I would tell you that my designs are never completely closed.

Vasili Kandinski, Piet Mondrian, Marcel Breuer, Josef Albers, Le Corbusier, Milton Glaser, Jorge Luis Borges among others.

I am a calm person who is very interested in culture and likes to walk around the city and discover things.
I always work accompanied by music, from jazz to Rock N Roll, depending on my mood.

My favorite city is New York for all the cultural and artistic mixture that this city has.

At the moment I am in Buenos Aires, Argentina but I plan to settle in Europe in a short time.

Design is always influenced by the context that surrounds it because as designers we are sponges that absorb external stimuli and operate with the elements of their culture.

Our job is to understand that culture and find solutions to their problems. We are servants of the people and we must provide them with solutions that improve their quality of life.

I think that my work culture is based on responsibility and commitment to the client.
I always try to provide solutions to their specific problems and provide them with an extra quality bonus and try to exceed their expectations.
I work alone, but in some projects I look for collaborators to enrich the process and the result.

I haven't participated in events of this type yet, but I highly value designers who do this type of charity action, and I would like to be part of one of them in the future.

I think they are a great important showcase to the world, especially for designers from emerging countries like in my case.

The main focus was based on formal experimentation and materials to ensure that the collection has its own imprint and identity.
I wanted to make these objects functional and visually dynamic at the same time.

I hope to continue advancing with the improvement of the prototypes, expose them and find the right people who want to manufacture them at an industrial level.

I couldn't tell you an exact time but I think it has taken about a year to plan the complete collection.

I have decided to design it on my own, without the request of any client, just to show the world my skills as a product designer.

I am producing it on my own in small runs, as unique pieces, but I am interested in the idea of producing it at an industrial level and I am open to chatting with a company to make it happen.

What motivated me to design this collection was my desire to experiment in a world as interesting as lighting design.

Lately I have been very influenced by the works of Italian designers like Gaetano Pesce and Aldo Rossi.

I think that the target customer for my design is anyone who is sensitive to art and open to modernity and minimalism in design.

I think that what makes it new is its mobile structure and its sculptural and kinetic spirit.

The name Fluida comes from the Spanish language, and means Fluidity.

The first tool is a pencil and paper to make the sketches, then I pass those drawings to the computer to model it, and then I have used 3d printing to materialize the products.

The proposal to use flexible materials.

Colleagues industrial designers and companies dedicated to printing have collaborated with me.

Technology fulfills a fundamental factor because it opens the spectrum of technical and formal possibilities.

The investigation has been more than anything at a technical and material level.

The main challenge is to ensure that the design, once materialized, is as faithful as possible to what was proposed in the project stage.

I think this prestigious contest is a great showcase to show my designs to the world.

I have learned many things mainly in the field of led lighting and new techniques and materials in 3d printing.

Another important theme in this collection is environmental awareness, and we tried to reduce the environmental impact as much as possible, that's why we have implemented low energy consumption LED technology together with recycled materials.

I wanted to achieve a line of furniture that has a personal and playful character.

Bring these conceptual designs to reality.

A few years.

It was a project carried out on my own, to venture into the world of furniture design.

I am in the process of materializing them.

My desire to explore different design territories.

Estudio Campana, Alex Proba, Karim Rashid and Gaetano Pesce among others.

My subjectivity as a designer.

The name of the design has to do with the fundamental characteristic of this furniture, its organic morphology.

Cinema 4d and Photoshop, but first it was a pencil and paper.

Its morphological sensuality.

It was solo, although some industrial design studios are helping me to make the prototypes.

My design is influenced by the forms of nature and the organic sculptures of Jean Arp.

The main challenge is to achieve correct ergonomics in the proportions of the furniture and that they all feel part of the same design system.

Just out of curiosity and to trust my creations.

I have learned a lot about industrial design, especially furniture.

You can see more of my work here https://www.instagram.com/ariel_palanzone/

My focus was on the idea of creating a universe of organic and abstract creatures.

I hope that they will have a lot of exposure and can be exhibited in some art space.

It has taken me a few years.

I have designed it out of a personal need to explore digital art and sculpture. Also to get out of work obligations and be able to develop my artistic skills.

I hope to be able to sell them to some collector, gallery or art museum.

experimentation

Six N Five has been a reference for me.

There are no customers

My artistic subjectivity.

The name has to do with these living sculptures that represent living organisms that coexist with each other in this imaginary world.

Basically I have used Cinema 4D and Photoshop. But the first tool was a pencil and paper to sketch the ideas.

The materiality, morphology and composition.

I have done this project alone.

It is essential to materialize the concepts in a realistic way.

I have investigated about the living organisms of nature and also about abstract sculptures.

The main challenge was to achieve harmony in the composition and general arrangement of the elements for the different images.

Only for curiosity. It was something like throwing a bottle into the sea with a message inside and seeing what happens.

I have learned a lot about 3D modeling and texturing. It has also been useful for me to improve my lighting techniques.

You can see more of my work here https://www.instagram.com/ariel_palanzone/

I wanted to achieve personal and contemplative images that invite reflection.

I hope it has a lot of repercussion and that it can be exhibited in some art space.

many years

It was not a custom, I only made them to channel my artistic expressiveness and in moments of introspection.

I would like to sell it to a collector or art spaces.

The need to express myself and stimulate my artistic sensitivity.

Rene Magritte is one of them.

Anyone who is open to reflection.

I think the difference is in the subjectivity of the author.

Look with the title to be very direct. Dreams derives from the fact that I have dreamed these images.

Mainly Cinema 4d and Photoshop.

But everything always starts with a pencil and paper sketch.

Experimentation and invitation to think and feel.

In this case I have worked alone.

Help to materialize the work.

It's just based on my dreams and personal experiences.

The biggest challenge was finding the right composition, lighting, color palette and materiality.

Only for curiosity

I have learned a lot about new technologies such as the field of 3d printing.

Just to clarify that my style does not always have to do with surreal images, but I am also interested in geometric and organic abstraction, among other things.

I am motivated by the idea of creating designs that contribute to improving the society in which we live and also being a designer helps me improve myself as a person.

Fortunately, it was by choice.

I am a multidisciplinary designer who can create 3d images to visualize products, design objects or furniture or a brand logo.

haha! thank you very much for the compliment. I think that the key is perseverance, believing in oneself and trying to improve day by day.

wow!! that is difficult to answer. But I think it has to do with that added bonus that those designers have in not seeing design as just a task to solve a specific need of the client, but rather they want that design to be memorable and transcend time.

I agree with the principles of Dieter Rams who says that good design is honest, beautiful, useful and innovative.

Good design must be consistent in its details, understandable and respect the environment.

It is a good design when it is taken to its minimum expression, there is nothing to remove or add.

I think that the value is given by the context, the user.
Investing in good design is essential to be able to function and evolve as a society, since design is part of our cultural heritage and speaks of the society of which it is a part.

I would like to design furniture for big brands in Italy or Germany since they are two schools of design that I respect and admire a lot.

I would like to design my own house/studio including furniture and interior decoration.

I always try to capture a personal vision of the context that surrounds me.

Marcel Lajos Breuer, Vasili Kandinski, Josef Albers, Frank Gehry, Paul Rand, Massimo Vignelli.

One of my favorite designers is Milton Glaser, for his innovative and playful way of capturing ideas.

My best design is always yet to come.

You can always improve. One must stay in the spirit of learning and seek to learn new things all the time.

I think I would be a plastic artist or a musician.

Design is autobiographical and goes through us all at all times.

Above all, my parents have been the great emotional support at times when things don't go the way you want.
And fortunately I have had many co-workers who have been generous with me and have helped me grow professionally.

I think that curiosity and the feeling that you can always improve. The concern of not staying in the same place for a long time.

There have always been obstacles of all kinds, like some people who don't want you to shine and seek to bring down your ideas, but over time I see that each obstacle is a learning test that makes you stronger.

I think they should present them in the most realistic way possible, contextualizing them and explaining them in a didactic way.

My next design projects are linked to the design of lamps, rugs and furniture.

My ultimate goal is for my work to transcend time and be useful to society.

I couldn't tell you what they expect, but I do hope my work inspires them.

Design helps people in being able to solve specific problems and needs.

I am currently excited about the development of a lamp prototype that has been awarded in a design contest in Argentina a few months ago. To carry out that idea I am learning from many areas such as electronics and 3d printing.

The design project that has given me the most satisfaction has to do with the development of these lamp prototypes, since they have been widely accepted by many colleagues.

I hope that in the coming years the design industry will be more aware of environmental impact and take more account of human factors such as emotional intelligence to create ideas for industrial products.

I believe that there is no single course, but I am interested in everything that emphasizes subjectivity and human diversity.

That depends a lot on the complexity of the project and the type of client, but I try to make commercial work take no more than one or two months.

On the other hand, in personal projects, the deadlines are much longer and many times they are processes that never end completely.

I usually start by looking for references and inspirational material, researching and searching for similar brands to do an analysis of the market, I write words as triggers to combine them and generate the concept, then I make some pencil and paper sketches capturing that idea, for more later put it on the computer.

My favorite motto is "less is more".

I think that design should endure over time, without being constrained by the trends of the moment.

The role of technology is very important, since it is the tool in which I capture my ideas and sketches in the most immediate way.
I also use my social networks a lot to promote my work.

I mainly use Cinema 4d, Photoshop, Illustrator and After Effects.
I basically work with a desktop pc.

They are fundamental in my work, since both color and textures and materials transmit certain emotions and sensations in people.

I have never considered it, but I prefer that they ask their own questions without conditioning.

It generates a great emotion in me and they inspire me to continue creating.

I think that my ideal partner has not arrived yet, but I am constantly looking for him. I suppose that it should be someone with whom I complement myself to design together and enhance the work.

One of the people who has most influenced my design is the designer Alex Proba, since I have been working with her for many years and I always learn a lot from her vision of design.

The ABC's of the Bauhaus by Ellen Lupton

Sharing knowledge with my colleagues from university and work in advertising agencies, watching tutorials on my own, practicing a lot and making many mistakes too.

Nicholas Tesla.

haha! I haven't had much recognition yet but I hope that soon my work will become better known.

My favorite color is pink
My favorite food is "asado",
my favorite place is Italy
my favorite season spring,
my favorite thing is a book,
my brand is MAC.

Something fun is being in a shopping center and seeing a design that I have made.

What makes a day at work great is when a proposal to do something new and exciting comes along.

As a child I was always drawing and creating houses or clothes for my toys, so yes, I have always leaned towards design and art.

I'm not very optimistic about it so I prefer not to comment.

That I would like to chat with them to exchange ideas.

At the moment I work alone and with remote collaborators but I plan to expand and grow the studio.

For me, design is the tool that human beings have to solve people's problems and improve their quality of life.

I am very interested in designing objects that, in addition to providing a certain function, also have a great aesthetic added value.

My favorite design is the one to come

My first designs had to do with logos for businesses in the city where I lived. He worked in a small company there while he was in college.

My favorite tool is 3d software because there I can express my ideas very quickly, but I also like to work with real materials such as cardboard and wood to make prototypes and experimental pieces.

My idea is to materialize my digital works and one of the technologies that interests me for this is 3d printing.

I think that my creativity increases first thing in the morning when my mind is clearest.
I also need to be in a quiet environment or listening to relaxing music.

I place a lot of emphasis on valuing the process, since unexpected things, errors or challenges can arise there that enrich the final result of the piece.

When I design I have many sensations, but mainly the freedom and uncertainty in the search for something new.
Also feel a tickle in the stomach.

I think the main feeling is pride when seeing it finished, and relaxation, knowing all the effort it took to get there.

I think that this is decided by the passage of time and has a lot to do with the context and how it is assimilated by people. There is something unpredictable there.

I think that as Dieter Rams said, good design must be innovative, useful, aesthetic and honest.

I think that respect for the environment is a fundamental factor and that we must bear in mind more and more, from the moment we think of the idea.
We must think of design products in such a way that they affect physical and visual pollution in our society to the least degree possible.
We must also use resources that can be recycled and reused.

I think that design evolves in several directions, and the one that interests me the most is the one that tries to ensure that products do not lose their personal touch and their ability to transmit sensations to users.

My last exhibition was at CMC - Centro Culturale di Milano - in February 2022 and the next one will be in June 2022 at the "Real Fábrica de Tapices" in Madrid, Spain.

My sources of inspiration are many and varied. Many of them have to do with observing nature and the urban situations that surround me, whether figurative or abstract, such as the shapes that stains have on the walls or cracks in the tiles.

Architecture, poetry, abstract painting and contemporary sculpture call my attention.

Also going to museums or art and design galleries greatly stimulates my desire to create.

I think that my style is something unclassifiable since my interests are many and varied.
My approach is based a lot on intuition and experimentation.
I am also very interested in the composition, the textures and the morphological search.

I live in Buenos Aires, Argentina and I think that context influences my process and way of designing.
I am not too influenced by the traditions of my country, but the context of social and economic crisis means that one must be creative and improvise with the tools and resources that one has and deal with those limitations.

I work with them remotely through emails or chats.
They send me the brief with what they want to do and I prepare a presentation with my proposal for that specific request.

I think that agencies should give the designer the freedom to propose their own look at their request, so that there is a more personal involvement with the project.

My process often has to do with "free play", that is, testing and testing until I find a way that I like and that seems to me to be proposing a personal and effective way of communicating the message.

_ The ABC's of the Bauhaus: The Bauhaus and Design Theory
_ BAUHAUS by Jeannine Fiedler
_ AD magazine
_ www.dezeen.com
_ www.design-milk.com

i just wake up early, sometimes i do some meditation after breakfast i check emails and start work
In my spare time I go for a walk, draw ideas or go to the gym

generally at night is when I give more time to develop personal projects

The music always accompanies me at all times

I think the best thing they can do is be very observant, develop their sensitivity and their own voice, have a passion for what they do and trust their inner voice.
Try to make your work have a soul and your own stamp, to feel proud of what you create.

The positive is the possibility of rethinking the world and proposing new ideas and solutions for people and the negative can be falling into the ego and losing oneself.

Not lose the passion or the capacity for wonder, preserve the inner child.

I think that curiosity, power of observation, knowing how to listen to the needs of the client and obsessing over details are the most important skills that a designer must have.

My main tool is a pencil and paper, I make a lot of sketches that I then give volume to in 3D software called Cinema 4d or Zbrush.

I also use a lot of Photoshop, Illustrator and After Effects.

I also make models in cardboard or styrofoam to make prototypes of objects and furniture and adjust the shapes and proportions.

I use Pinterest or Instagram boards a lot to keep references and inspiration material.

Many of them are from the design world of the 1970s, such as Gaetano Pesce, and others are from the world of contemporary art, such as Gerhard Richter.

In my case, it's almost a full-time task. If I'm not thinking about design, I'm thinking about art, haha!
I try to set schedules so it's hard for me to disconnect my head from those two issues.

I think it is impossible to establish a standardized time because each object is unique.
Many times it happens to me that I return to personal objects or images that I had started a while ago and try to modify and improve them.

what is your rate? what programs do you use?

I have worked in several advertising agencies and design studios and I think that the most important thing on a professional level so far was the collaborations with a designer from New York called Alex Proba, since they are always a challenge for me and a learning experience.

Alex Proba, Kati Forner & Akatre Studio among others.

I enjoy more the jobs that represent a challenge for me and in which the client gives me the trust, time and enough freedom to make a personal and artistic proposal.

I plan to further develop my side as an author designer and at the same time advance in my growth as an artist.

I always try to summon collaborators to help me in a specific project, either for a personal project or for a client.

I am developing a series of lamps with the idea that they can soon be put on the market.
I also want to launch a series of rugs with personal designs.

my email is arielpalanzone@gmail.com
my personal page is www.arielpalanzone.onfabrik.com

and my instagram is https://www.instagram.com/ariel_palanzone/

I think we've talked about too many topics, haha!

Thank you very much for your insights!The apple has always been a source of inspiration for me because of its symbolic meaning, from its connection with Newton and creativity, to its biblical connotations associated with desire or fertility

It has had a decisive influence, since the first thing I do is analyze through pencil sketches how the flat form looks, and based on that morphological analysis I then transcribe it to the three-dimensional plane.

It emerged after doing an exhaustive search and investigation on the different types of lighting fixtures that are on the market, and realizing that those that were most interesting to me were those whose light was diffuse, since that generated a more interesting and mysterious atmosphere in the environment.

I am a great admirer of Japanese culture and its philosophical concepts applied to both life and design, both with its strong connection to nature, emptiness and acceptance of the imperfection of materials as well as the purity and simplicity of its forms.

This also emerges from research into where the lighting sector is heading today. There is a very strong connection between lighting and people's emotions, which is why the user being able to adjust the light and decide what intensity or temperature is most appropriate for them depending on the time of day or their own mood makes the product not only meet the user's usage needs but also their emotional needs.

In order to successfully complete the product development process, countless feedback processes arise between collaborations from different areas, such as industrial designers or engineers specializing in new technologies and materials, seeking to optimize these resources in relation to production times and costs, so that the sale price of the product does not rise too much and that the spirit and values ​​of the product are also reflected as faithfully as possible in the transition from the digital to the physical plane.

This is a key point since as designers we must be aware of the impact we cause in the short, medium and long term on our planet if we make decisions that are not aligned with ecological awareness.

Participation and winning this competition have had a very positive impact on my career, as it has generated many positive repercussions from colleagues, users and companies linked to lighting, which gives me greater self-confidence and helps my work to reach a wider audience.

In this case I was experimenting with some old elastic stockings and analyzing how they stretched as I put objects inside them. Another event that influenced me was going to the Museum of Modern Art in Rio de Janeiro and finding there a sculpture by Ernesto Neto made of an elastic fabric stretched between two bricks.

I think that the choice of colour is essential to create a certain emotional atmosphere in the image in which the viewer can immerse himself. In addition to transmitting emotions and sensations, I use colour to generate contrasts or to emphasise certain important situations within the composition.

My training as a graphic and motion designer has given me the tools to correctly use the arrangement of elements and visual paths, but above all to create a concept that is the foundation of the image, so that this image has a story to tell and can work both as an individual piece or as a frame taken from an animation or short film.

I always start from sketches on pencil and paper, and often I connect different drawings with words or loose phrases to build a new image that enhances the original idea or generates a new meaning, as if I were an alchemist.

Although I don't focus on the hyper-realistic aspect of the image, I try to pay attention to the details to make the situation as "believable" as possible, and this requires constant training in tutorials and lately I also use some artificial intelligence to create extra details in the image.

I think that both Magrite and Duchamp were artists ahead of their time, and that they are being vindicated by the new generations of 3D designers/artists, since these softwares allow us to create scenes with realistic lighting and simulations with correct physical properties, and to be able to manipulate these scenes in a surreal way by doing simple operations such as altering the scale of an object in relation to another or modifying its materiality, etc.

The passing of time is a subject that I am very obsessed with and I try to approach it from many aspects, sometimes from a more physical plane where time can be accelerated or reversed and other times I approach it from a more metaphysical plane where time stops. I like how sometimes time seems to pass quickly and other times slowly, and I am also interested in seeing it as the most important substance that exists, since as the writer J. L Borges said, we are made of time.

I think Argentina has grown a lot in that aspect, since there are many museums with international exhibitions and also many cultural activities in more peripheral circuits such as contemporary art spaces and galleries where there is a lot of emphasis on new languages ​​and ways of making art.

It is a challenge to break with the purity of the perfect forms of 3D and that is why I try to make the elements have small imperfections in their textures and models, so that they resemble the imperfections of nature that we can find in real life.

I hope to bring my art to increasingly more widely known places, so participating in international competitions is something that is in line with these objectives. This year I have been part of some galleries and art spaces that have contributed to spreading and marketing my work and with which I am planning to do exhibitions and displays in museums.

The shape first emerged from a paper sketch which I then took to the 3D software. Besides Botero's artistic influence, the moment of inspiration happened at home when I left the dentist and saw how my temporary tooth had broken in two. Looking at it, I began to rearrange the broken parts and I said to myself that this improvised design could be an original way to create a chair.

I hope that this recognition can open more doors for me to companies that want to materialize my creations that seek to eliminate barriers between art and design. In fact, this series has won the gold prize in an international design competition, whose jury was composed of famous designers.

I think that color plays a fundamental role in the emotional connection with people and that is why I try to enhance the sensuality of the shapes through color. I am also inspired by the color enhancement in Italian design from the 70s.

The production of this piece required constant feedback with the people in charge of production to jointly seek a balance between the initial idea and its materialization, where various technological and artisanal processes were combined.

I think that in this highly digitalized era, people will increasingly feel the need to be surrounded by objects and furniture that provide them with positive sensory experiences, both tactile and visual, and in which they will see aspects of their own personality reflected.

My training as a graphic designer and motion graphics definitely influences the way I approach my creations. I like to first see how the shape works flat before giving it volume in 3D. The idea of ​​movement is always present to a greater or lesser extent in my designs, as is the sculptural aspect of the piece, that is, its visual path and the way in which the light enters it.

Being a personal project, I was not limited to satisfying a specific need of a particular client, so the development was based on my own creative process, playful and free, where I asked myself the question of what furniture would be like in which I myself would feel comfortable and pleasant when using it, since I think that design serves to improve the quality of life of people both at a functional and experiential level.

I am currently evaluating the possibility of partnering with some companies that are dedicated to the production of furniture as unique pieces at an international level to be part of their catalog of designers.

They should believe in themselves and do what they feel and let their imagination run wild, without being too concerned with following successful formulas that worked for other people, or letting themselves be limited by people who tell them what is possible to do and what is not. They should think that the role of a designer is fundamental to the construction of a better, more just and humane society.

I wanted the elements of the series to be read as a family and so I applied a reduced colour palette to them that creates visual cohesion. In terms of materiality, I also tried to maintain the same systematic coherence but at the same time have variables that make each character unique, so that each of them proposes a certain sensory experience. The settings become monochromatic to move to a second level of reading, leaving the organic compositions as the protagonist.

I have used different digital techniques and experimented with the properties of the materials, such as translucent or hair simulation.The process requires a lot of trial and error and achieving the right amount of imperfection in each material so that it feels natural and warm, separating them from the coldness and perfection of the standard 3D language.

I think that this is where my knowledge in the field of graphic design and art is most appreciated, since I have sought a palette of opposite, warm and cold colors to enrich the composition in this coexistence of such contrasting temperatures.

It is true that the process is often accompanied by many unexpected situations, many of which can be used to enrich the final result. For example, I remember that to make the inflated piece inside the glass cube, the main idea was that it would have a porous, opaque and humid texture, similar to that of an intestine, and after doing several tests, I unexpectedly thought that it would be interesting for its structure to be rather translucent and with a color gradient that would make it more similar to a maritime shape.

The intention was for each organism to have its own personality, and this is reflected in its appearance, which also reveals the way in which it could move, so that some can be more inflated and slow while another can be more stylized and move in a sinuous and delicate way.

To stay current in this changing and competitive field, I must be in a continuous search for information, watching tutorials and researching in community forums for designers and 3D artists to keep up to date with new techniques and technological possibilities, such as augmented reality, interactive pieces and everything that is emerging regarding artificial intelligence.

I hope that my collection serves as an inspiration for designers, artists or even for people linked to the world of science, where they can see a different approach to biology, more closely linked to art, and that this helps them broaden their perspectives.

I would tell them to try to give free rein to their imagination and to generate interesting concepts, try to connect worlds that a priori have nothing in common, but that by joining them they can generate new concepts and meanings.

They influence from the moment I conceive the idea, the story, the atmosphere I want to convey, the architecture of the environments and how these characters relate to that environment.