EXHIBITIONS & FEATURES
The publication Taking It To The Streets: Pixel In Santiago introduced international audiences to the artist’s early investigations into pixel-based mosaic systems operating within public space. Produced during a formative period of the practice, the interview documented the transition from graphic design and digital image production toward large-scale urban interventions constructed through mosaic.
Rather than approaching mosaic as a traditional decorative medium, the work was presented as a contemporary image system informed by digital culture. The pixel emerged as both a formal unit and a conceptual structure capable of translating information from screens into physical environments.
The feature highlighted the growing presence of these interventions throughout Santiago and positioned the work within a broader international discussion surrounding public art, technology and contemporary mosaic practice. Many of the ideas outlined in the interview—including image migration, digital language, urban occupation and material reconstruction—would later become central themes throughout PixelArt’s subsequent projects.
The article notably opened with the phrase “Move over, Invader. There’s a new kid in Santiago…”, positioning the work within the international conversation surrounding contemporary mosaic interventions in public space. Rather than establishing a direct comparison, the statement reflected how the emergence of pixel-based mosaics in Santiago was being recognized by specialized media as part of a broader evolution of urban mosaic practice.
Viewed retrospectively, the publication functions as an early document of a practice that would continue expanding into mosaic systems, stencil structures, large-scale installations, NFTs and experimental image fields while maintaining the pixel as its fundamental unit of construction.
Rather than approaching mosaic as a traditional decorative medium, the work was presented as a contemporary image system informed by digital culture. The pixel emerged as both a formal unit and a conceptual structure capable of translating information from screens into physical environments.
The feature highlighted the growing presence of these interventions throughout Santiago and positioned the work within a broader international discussion surrounding public art, technology and contemporary mosaic practice. Many of the ideas outlined in the interview—including image migration, digital language, urban occupation and material reconstruction—would later become central themes throughout PixelArt’s subsequent projects.
The article notably opened with the phrase “Move over, Invader. There’s a new kid in Santiago…”, positioning the work within the international conversation surrounding contemporary mosaic interventions in public space. Rather than establishing a direct comparison, the statement reflected how the emergence of pixel-based mosaics in Santiago was being recognized by specialized media as part of a broader evolution of urban mosaic practice.
Viewed retrospectively, the publication functions as an early document of a practice that would continue expanding into mosaic systems, stencil structures, large-scale installations, NFTs and experimental image fields while maintaining the pixel as its fundamental unit of construction.
The pixel as occupation
PIXEL-BASED SYSTEMS INVESTIGATING IMAGE PERSISTENCE, SYMBOLIC INVOCATION AND THE MATERIAL RECONSTRUCTION OF MEMORY.