Hybrid Image Production: Memory, Painting and Everyday Technologies

This space functions as a living repository where I document and share visual experiments emerging from my ongoing research into hybrid image production. These works are situated at the intersection of painting, imaging technologies, and the production of memory within everyday contexts.

My doctoral investigation explores how contemporary painting, rather than resisting the influence of digital technologies, finds in them a fertile ground to question its own limits and expand its narrative and aesthetic possibilities. By embracing computational tools, generative artificial intelligence, and digital manipulation techniques alongside traditional pictorial practices, I propose the notion of a hybrid image—an image that is neither purely analog nor purely digital, but rather the result of a continuous negotiation between the body, the machine, and the sensory-perceptual field.

This hybrid production does not merely seek to replicate or simulate reality but aims to activate memory as a dynamic, embodied, and political space. The memory evoked through these works is not monumental or historical in the conventional sense; it is a memory of the everyday, of the overlooked, the fragmentary, and the liminal. By collecting urban “samplers,” using AI to process gestures and styles, or exploring the boundaries of perception through sound and visual codes, I attempt to create images that are at once personal and collective, intimate and technological.

From this perspective, the image becomes a territory of friction, where the gestures of the body—its rhythms, its limitations, its errors—intertwine with algorithms, archives, and databases. This productive friction allows for the emergence of new forms of visual storytelling that challenge the dualisms of human/machine, analog/digital, natural/artificial.

In these processes, the role of the painter is not diminished by the presence of the machine; rather, the painter extends their body through the technological medium, translating their tactile knowledge into new visual syntaxes that allow for the creation of images of memory, capable of activating different layers of meaning within the contemporary visual landscape.

Ultimately, this repository is not a collection of finished works but an open lab, a space for experimentation and reflection on how images can continue to be a place of resistance, imagination, and hybridization in times dominated by informational aesthetics and accelerated consumption of visual culture.