Variaciones del yo (variations of self) represents Marcelo’s journey through mental spaces, memories, reflections, and emotions, exploring themes of affection, meaning, and identity. The work builds upon the aesthetic principles he developed in entretiempos, which was influenced by Sonia and Robert Delaunay’s work. While continuing to explore these aesthetic possibilities, Marcelo’s focus has shifted to the piece’s dynamic and interactive nature.

The project was made possible through collector JDH. Rather than being viewed as a static piece, this work demands time and engagement from its audience. Marcelo sees it as comparable to classical music, progressive rock, or fusion jazz, where layers of complexity reveal themselves gradually to the patient observer.

The artwork operates non-linearly, with different sections that can be experienced in any order, much like Cortázar’s Rayuela. Through constantly shifting viewpoints and fragmenting perspectives, the piece explores questions of identity, consciousness, and reality. Marcelo investigates whether identity is self-constructed or externally imposed, particularly as artificial entities develop increasingly complex behaviors. The work examines how affections and meanings interweave to create the fabric of life, with concentric circles representing various entities and their layers of meaning as they interact with one another.

The visual experience incorporates evolving spatial resolution, cyclic movements, and variable viewports, all of which can be influenced by the viewer's interaction, creating what Marcelo terms “progressive generative art.”

Art Blocks Collection: Curated

Heritage Art Blocks Collection: Curated series 6

Entretiempos is a series that explores how the meaning of events shifts across different time scales. Inspired by Sonia Delaunay and František Kupka, it features intersecting rings that create a dynamic, looping painting experience, allowing viewers to pause, restart, or adjust the speed of the work. The piece examines the concept of “total cognitive space” by expanding on Delaunay’s style and considering how machine precision versus human imperfection affects emotional response.

Siempre en mí, siempre en ti (always in me, always in you) is a personal reflection on how Alzheimer’s affects the lives of patients and those around them. The illness is in my family and in that of close friends of mine, and this work is more of a raw expression of emotion than anything else. Holding hands with a person who is fading away is a strong experience, one that allows oneself to recalibrate and to, in a way, regenerate one’s vision of what life is, what a person is, what relationships are. It’s commonplace to hear that a loved one who is already gone is still alive “in our memory.” The truth is that this is the case when we are all alive and good as well, but only take notice when there is a crossing over event. We don’t see the person almost anymore, but there’s a body there that sometimes still reacts. How much of what we ignore that is going on is relevant? Is this song we just played relevant? What do emotions look like when the brain that processes them is failing? Are we ready to understand those, with our limited knowledge of what we are? Is the person still there when there is no sign of them? And when they are not there, why can we not cut the cord? The simple touch of their skin is enough to make the person come alive in that instant in our very memories. Maybe we are in theirs, in that moment, in a shape we don’t comprehend.

Light and shadow both contribute equally to life. Light brings joy, shadow protection. Window shutters and shade structures are an ever present sign of light, providing shelter and painting inspiring patterns over the life it protects. Shadows can't be seen without light, light can't exist without shadow. Sea life in the Mediterranean can't exist without its endemic Posidonia Oceanica: protects the coastline from erosion & is home to many animal and plant organisms that find food and protection in the meadows. This series employs minimal elements of my personal story in the Mediterranean. Notably, Posidonia Oceanica, traditional houses from Almería and also present along the coast east & west, brise soleils and boats.

The Mediterranean is also life and death. Migrants seek hope/light crossing in inhumane conditions the sea, only to find themselves all too often caught forever in the shadow/dying. Some pieces reflect this tragedy through the piercing of the elements, or red in the water. Sometimes a shadow of a person can be seen, but not the person.

This project will donate 25% of my proceedings to both NGOs that help people in this situation and also others that work towards the preservation of the Mediterranean marine ecosystem, through a fund set up in Endaoment.org. Final NGOs still not selected at the time of minting the collection.

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