NATURALEZA DESCIFRADA
In a world dominated by screens, data, and artificial speeds, “Nature Deciphered” offers a contemplative pause to explore how digital art can become a bridge to a deeper understanding of the natural world.
Through the works of six artists, this exhibition investigates the relationship between technology and ecology, revealing the complexity of living systems, the beauty of the organic, and the tensions between the human and the non-human. Our nature, both precious and fragile, is presented here as an irreplaceable asset, worthy of being represented, celebrated, and protected.
Representing it is not only an aesthetic gesture, but also an act of recognition of that which sustains our existence. Each image, each form, and each digitized sound reminds us that the natural world contains incalculable wealth, too valuable to be reduced to silence or invisibility.
“Nature Deciphered” is also an invitation to take collective responsibility for protecting that which, although we know, we never cease to discover. Because deciphering nature is not just about understanding it: it is about feeling it again, allowing ourselves to be moved by its infinite beauty and recognizing that, by caring for it, we also care for ourselves.
CBO x SMTH
ARTISTS
MONOMO
IRENE MOLINA
MAREO
SARES
CHINO MOYA
URTICAE
MONOMO
Diego Castro, known as MONOMO, is a London-based digital artist who combines his background in architecture with CGI and artificial intelligence tools to explore the symbiotic relationship between nature and society. Recognized as Exceptional Talent by the UK Arts Council, his practice focuses on creating futuristic environments with a biological approach, using diffusion models such as CLIP to generate images that blur the boundaries between the organic and the artificial. His Synthetic Nature series proposes a perceptual distortion that invites us to question the invisible boundaries that separate the natural environment from the social fabric, imagining futures where both spheres coexist in harmony. MONOMO has exhibited his work in international venues such as the Saatchi Gallery, W1 Curates, Times Square in New York, Venice Design Week, and other cities such as Paris, Berlin, Oxford, Chicago, Madrid, and Dubai. His work has also been featured in media outlets such as Forbes and Decrypt, positioning him as an important voice in the dialogue between art, technology, and ecology.
Before the first word, there was pattern. Before light touched matter, there was rhythm. Fractalis is the whisper that remains, a blossoming of memory, unfolding on the skin of silence. It is the dreams of the cosmos, folded like ancient thoughts, speaking in the language of spirals. A journey inward. Feel the tide of form with the pulse of a thousand lives tracing their lineage through the infinite echo of repetition. There is no center. There is no beginning. There is no end. You are not the spectator. You are the pattern returning to itself.
EXHIBITION SPACES
IRENE MOLINA
Irene Molina is a visual artist who works at the intersection between the physical and the digital, combining sculpture, animation, and technologies such as photogrammetry and 3D printing to create works that question our perception of space and our relationship with virtual environments. Her work is characterized by the use of digital error as an aesthetic and reflective resource. With a degree in Fine Arts and a master's degree in Artistic Production, she has received awards such as the BMW Digital Art Award and has exhibited at institutions such as the Saatchi Gallery in London and the National Museum of Decorative Arts in Madrid. She currently lives and works in Madrid, where she develops a critical and experimental practice.
The word “hirsute” refers to something covered with dense, wild, uncontrolled hair. In this audiovisual piece, hirsute becomes the starting point for constructing a speculative ecosystem where bodies appear as overflowing hairy surfaces.
The work proposes a biological fiction: an environment in which organisms have developed hair structures as a strategy of resistance to digital control, facial mapping, and classification systems. In this landscape, hairiness is architecture, defense, and territory.
MAREO
Mario Rodríguez Echeverry (Mexico City, 1981), known as Mareo, is a multidisciplinary artist raised in Colombia and based in Barcelona, whose work encompasses painting, sculpture, digital media, and large-scale installations that explore the relationship between nature, light, and spiritual transformation. An architect from the Pontifical Bolivarian University of Medellín, with master's degrees in Design from Elisava and in Arts from the UNA in Buenos Aires, he has developed a solid international career with 16 solo exhibitions and participation in projects and festivals in America, Europe, Asia, and the Middle East. His work has been shown at events such as the Sharjah Islamic Arts Festival, the NFT Illumia project in Miami, the Istanbul Triennial, and the Times Art Museum in Beijing, and is part of collections in institutions in countries such as Italy, the US, Dubai, Canada, Malta, and Saudi Arabia. In 2024, he presented a monumental light installation in Hungary and a solo exhibition at LOAD Digital Art Gallery, and in 2025 he was awarded the ROOM Design Prize in the Art category by Matadero Madrid.
Monolito was born as an extension of artist Mareo Rodriguez's Portales series and his exploration of the crack as a central symbol in his work, which is a tribute to the forces of nature that have shaped the landscape.
In this piece, the fracture becomes the axis of the visual language: a vertical crack runs through a stone monolith and reveals light from within. This form, present in nature in mountains, rocks, canyons, rivers, and lightning, manifests itself as a gesture of vulnerability, but also of openness and transformation. It is a wound that lets light through, a fissure that connects dimensions, a threshold to the invisible.
Monolith is not just a structure, but a symbol of resilience, the act of fracturing to let in the light of consciousness and begin the path of transformation.
SARES
Sares is a visual and sound artist based in Mexico City, whose work develops at the intersection between technology, ancestry, and sensory experience. With a background in electronic arts and anthropology studies, she has exhibited her work in museums and independent spaces in Latin America, Europe, and Asia. Her practice combines frequencies, generative patterns, and organic materials to explore the relationship between the intangible and the earthly. Through immersive installations and collaborative processes, her pieces propose an introspective journey where narratives about identity, ritual, and collective memory emerge, acting as a bridge between the visible and the invisible, the remembered and the yet to be discovered.
“Aura” is a work that explores desire as a complex force that drives existence and reconfigures reality. Through digitally generated abstract flora structures, the piece represents the stages of desire and its paradoxes, connecting the human experience with the vital energy of aspiration. Through organic forms, emotional tones, and generative systems, “Aura” translates the latent into manifestation, showing the interaction between internal impulse and external expression, individuality and union, longing and fulfillment, and how this force materializes emotion and redefines our understanding of existence.
CHINO MOYA
Chino Moya, raised in Madrid and based in London, is a multidisciplinary artist whose work explores themes such as the collapse of utopias, loneliness, techno-spirituality, and the decline of traditional masculinity, all infused with a dark, surreal, and absurd humor. His practice ranges from film to video installation and photography, and has been presented at institutions such as LACMA in Los Angeles, the Museum Stadt Sindelfingen in Germany, the Colección Solo in Madrid, and the MMMAD festival. In 2025, he opened his solo exhibition Meta-Mythical Optimisation at the Seventeen Gallery in London. He has also participated in the Voltaje fair in Bogotá, the After Human exhibition in Slovakia, and the DongGang International Photo Festival in South Korea. In parallel to his artistic career, Moya made his feature film directorial debut with Undergods (2021), produced by the British Film Institute and Black Dog Films (Ridley Scott), released in theaters in the UK and US, and highlighted by media outlets such as The Guardian, The New York Times, and the BBC. His previous short films have won awards and been screened internationally.
In this new series of videos, Chino Moya explores the fusion between nature and technology through portraits of cybernetic-looking creatures composed of synthetic matter, plants, and animal tissue. Set in hyperrealistic natural environments, these works reflect on the fragility of hybrid ecosystems and the urgent need to rethink the boundaries between the organic and the artificial.
Inspired by Bruno Latour's quasi-objects, entities that blur the boundary between nature and artificiality, and by N. Katherine Hayles' proposals for a symbiotic future between humans, non-human life forms, and technical systems, the series speculates on a future of hybrid and shared consciousness. Here, artificial intelligence transcends the uncanny valley, giving rise to sentient beings that generate human empathy and open the door to deeper forms of emotional and spiritual integration between the digital and physical worlds.
URTICAE
Pau Jiménez (Ávila, 1994), known as Urticae, is a digital artist and architect trained at the Polytechnic University of Madrid, whose practice investigates the relationship between humans and technology from a non-anthropocentric perspective. Her work is developed through media such as 3D animation, augmented and virtual reality, as well as the creation of interactive pieces using 3D printing, with the aim of exploring intimate links between the human and the technological. In addition to her artistic work, she teaches at IED Madrid and is co-founder of the digital production studio Lustre, together with Lola Zoido, as well as the Servicios Generales collective, a workspace for artists in Carabanchel, Madrid.
The piece is built around fire, an interest derived from the massive forest fires of recent years. Far from conceiving of fire solely as destruction, the work proposes an ambivalent reading: between the end and the possibility of a new beginning. This tension enters into dialogue with the Christian imagery of eternal fire, which burns without consuming, to contrast it with a secular, material, and contingent version of fire as a force that reorganizes ecosystems, territories, and ways of life.
Through an observational and speculative approach, the video examines the interaction of various agents (natural and urban, human and non-human) in the face of fire, recording their reactions, adaptations, and resistance. These interactions become formal and narrative resources that allow future scenarios to be projected onto seemingly everyday scenes. Thus, the piece prompts reflection on the temporality of disaster, the resilience of the environment, and the latent potential of combustion processes, not only as destruction, but also as catalysts for new vital configurations.
