Kantfish Artworks
VISUALIZACIÓN DE LA METÁFORA EN LA MELODÍA DEL COLOR VII, 2018
Formats
Photography, personal digital technique.
High quality cotton paper or direct printing on aluminum dibond.
40×26 cm, Edition of 3 + 1 A.P.
90×60 cm, Edition of 2 + 1 A.P.
150×100 cm, Edition of 2 + 1 A.P.
High quality cotton paper or direct printing on aluminum dibond.
40×26 cm, Edition of 3 + 1 A.P.
90×60 cm, Edition of 2 + 1 A.P.
150×100 cm, Edition of 2 + 1 A.P.
About
This image is peace. It is a memory. It is entering the intimate essence. It is the renunciation of logical reason, of mental constraints, and immersing oneself in the deepest consciousness, the one that transcends words and connects with what is real, primordial. It is a return to the essential, an embrace of the inner silence that allows us to become one with everything around us. Nature in its harmony, in its essence.
Exhibited at
LA EXTRAVANCIA DE UNA IMPRESIÓN V, 2016
Formats
Photography, personal digital technique.
High quality cotton paper or direct printing on aluminum dibond.
85×30 cm, Edition of 2 + 1 A.P.
150×50 cm, Edition of 3 + 1 A.P.
200×70 cm, Edition of 1 + 1 A.P.
High quality cotton paper or direct printing on aluminum dibond.
85×30 cm, Edition of 2 + 1 A.P.
150×50 cm, Edition of 3 + 1 A.P.
200×70 cm, Edition of 1 + 1 A.P.
About
A tapestry of flowers. Reality is a complex network of interconnected elements. The ambition to “tell it all” is a naïve one. It is impossible to entirely define the vast spectrum that composes it. All we are granted is to observe it from a single point of view. Heisenberg’s uncertainty principle reminds us of something essential: it is not possible to determine both the speed and the position of a particle at the same time. All we can do is use every mental, cultural, and sensory tool at our disposal to craft a narrative that remains faithful to our perception of reality. The reality I seek to convey is “more than real.”
Exhibited at
VISUALIZACIÓN DE LA METÁFORA EN LA MELODÍA DEL COLOR I, 2018
Formats
Photography, personal digital technique.
High quality cotton paper or direct printing on aluminum dibond.
40×26 cm, Edition of 4 + 1 A.P.
60×40 cm, Edition of 3 + 1 A.P.
90×60 cm, Edition of 3 + 1 A.P.
150×100 cm, Edition of 2 + 1 A.P.
High quality cotton paper or direct printing on aluminum dibond.
40×26 cm, Edition of 4 + 1 A.P.
60×40 cm, Edition of 3 + 1 A.P.
90×60 cm, Edition of 3 + 1 A.P.
150×100 cm, Edition of 2 + 1 A.P.
About
Melodía is the visualization of a metaphor for the Renaissance. A study of colors, harmonies, open, infinite spaces, in the blinding light of the sun that characterizes the entire series. It is a tribute to a unique place that no longer exists as we once knew it. Castellucio di Norcia is a small village in the Umbria region, in the heart of Italy. Surrounded by an extensive plain that between May and June becomes filled with flowers, expanding the impression of a poetic and inspiring place. When I immersed myself in it, in July, it was at an altitude of 1,452 meters. Since October 30th, 2016, its altitude has been reduced to 1,382 meters. A terrible earthquake demolished its homes and lowered the small mountain where this center of 150 souls had existed since the Middle Ages.
Exhibited at
VISUALIZACIÓN DE LA METÁFORA EN LA MELODÍA DEL COLOR VI, 2018
Formats
Photography, personal digital technique.
High quality cotton paper or direct printing on aluminum dibond.
40×26 cm, Edition of 3 + 1 A.P.
90×60 cm, Edition of 2 + 1 A.P.
150×100 cm, Edition of 2 + 1 A.P.
High quality cotton paper or direct printing on aluminum dibond.
40×26 cm, Edition of 3 + 1 A.P.
90×60 cm, Edition of 2 + 1 A.P.
150×100 cm, Edition of 2 + 1 A.P.
About
Melodía is the visualization of a metaphor for the Renaissance. A study of colors, harmonies, open, infinite spaces, in the blinding light of the sun that characterizes the entire series. It is a tribute to a unique place that no longer exists as we once knew it. Castellucio di Norcia is a small village in the Umbria region, in the heart of Italy. Surrounded by an extensive plain that between May and June becomes filled with flowers, expanding the impression of a poetic and inspiring place. When I immersed myself in it, in July, it was at an altitude of 1,452 meters. Since October 30th, 2016, its altitude has been reduced to 1,382 meters. A terrible earthquake demolished its homes and lowered the small mountain where this center of 150 souls had existed since the Middle Ages.
Exhibited at
Visualización de la Metáfora en la Melodía del Color VI was exhibited at:
- Fundación Carlos Amberes, Madrid (Spain), Artist Experience Fair, 2021.
TERZA DIMENSIONE, GIALLO SPAZIALE, 2025
Formats
Photography, personal digital technique.
High quality cotton paper or direct printing on aluminum dibond.
60X40 cm, Edition of 1 + 1 A.P.
90×60 cm, Edition of 2 + 1 A.P.
150×100 cm, Edition of 2 + 1 A.P.
High quality cotton paper or direct printing on aluminum dibond.
60X40 cm, Edition of 1 + 1 A.P.
90×60 cm, Edition of 2 + 1 A.P.
150×100 cm, Edition of 2 + 1 A.P.
About
Terza Dimensione, Giallo Spaziale, 2025 delves into a three-dimensional experience born from the fractals of sunflowers. The artwork deliberately breaks the plane to generate a spatiality that functions as a metaphor for a fully lived experience. The surface fractures and access is gained to a direct encounter with reality: an apparent destruction that, as in Lucio Fontana’s spatial research, opens a new perceptive order. It is not rupture by negation, but by expansion. From this gesture emerges an enveloping, open, potentially infinite visual experience.
The reference to Fontana acts as a conceptual echo. The fracture of the plane does not seek emptiness, but depth. Three-dimensionality is not a formal effect, but a condition of experience. The artwork is not merely contemplated: it is traversed, crossed.
Nature appears here as an intimate resonance. The color, shapes and spatiality of the landscape activate a direct relationship with our inner dimension. The field becomes a mirror. Prolonged observation returns a silent journey towards the essential, towards a harmonious order that does not impose itself, but reveals itself.
In this sense, the artwork embodies an active state of waiting. A state of attention. A threshold where perception expands and reality ceases to be a surface to become a lived space.
Exhibited at
FORTUNATELY TODAY FOREVER, 2025
Formats
Photography, personal digital technique.
High quality cotton paper or direct printing on aluminum dibond.
60X40 cm, Edition of 1 + 1 A.P.
90×60 cm, Edition of 2 + 1 A.P.
150×100 cm, Edition of 2 + 1 A.P.
High quality cotton paper or direct printing on aluminum dibond.
60X40 cm, Edition of 1 + 1 A.P.
90×60 cm, Edition of 2 + 1 A.P.
150×100 cm, Edition of 2 + 1 A.P.
About
Fortunately Today Forever, 2025 is born from a primary intuition. Kantfish pauses in front of a field of sunflowers in northern Portugal and allows his subconscious gaze to take over. The artwork emerges from a direct, lived experience, unmediated, attentive, fully present.
The title evokes, consciously but not dependently, Margaret Keane’s imaginary. The reference is a declared wink. The large eyes that appear here do not reproduce an aesthetic or an inherited melancholy. On the contrary, where Keane revealed, over time, the intimate oppression that inhabited her figures, Kantfish introduces a displacement. Thousands of eyes observe, yes, but they do so from an open, vital, affirmative energy. They look with joy. They look in celebration. They hypnotize, leading to another dimension.
Sunflowers transmit life. Our intimate substance, which is our Nature. The visual and intimate contact activates an expanded consciousness that transforms everyday perception. The artwork proposes a dance of light and vitality where the visual movement and the superimposed layers generate an immersive, mutable, never fixed. Each movement generates a different image. Each instant reshapes the whole into an infinite experience.
In this sense, the piece fully embodies Kantfish’s More Than Real concept, where reality is represented in its true essence, with all its layers. Identification with nature and its infinite possibilities reminds us that life experience depends on the point of view we inhabit. It is enough to look and let our consciousness navigate.
Exhibited at
PERSPECTIVE OF A NEW ORDER IV, 2019
Formats
Photography, personal digital technique.
High quality cotton paper or direct printing on aluminum dibond.
40×26 cm, Edition of 2 + 1 A.P.
90×60 cm, Edition of 2 + 1 A.P.
150×100 cm, Edition of 2 + 1 A.P.
High quality cotton paper or direct printing on aluminum dibond.
40×26 cm, Edition of 2 + 1 A.P.
90×60 cm, Edition of 2 + 1 A.P.
150×100 cm, Edition of 2 + 1 A.P.
About
A sound image. The hectic life of each one. Lives that mingle in an iconic place, a landmark. New York Grand Central Station. An image of timeless inspiration, but with an already historical taste. A world that no longer exists after our reality locked us down.
Exhibited at
PERSPECTIVE OF A NEW ORDER III, 2019
Formats
Photography, personal digital technique.
High quality cotton paper or direct printing on aluminum dibond.
50×40 cm, Edition of 2 + 1 A.P.
90×60 cm, Edition of 2 + 1 A.P.
150×100 cm, Edition of 2 + 1 A.P.
High quality cotton paper or direct printing on aluminum dibond.
50×40 cm, Edition of 2 + 1 A.P.
90×60 cm, Edition of 2 + 1 A.P.
150×100 cm, Edition of 2 + 1 A.P.
About
The perspective of a new condition, of a new order, leads to a vision full of movement, color, light and shadow, of multiple and multi-directional indications. A balance full of elements, in this case brought together in the classic aesthetic vision.
In this photograph taken from a helicopter, the iconic island of Manhattan and its famous skyscrapers are transformed into an imaginary landscape through movement. The aerial image, from a flying mechanical medium, carries a vision full of movement, of color, that creates a new world. Downtown Manhattan as we want to see it, in a new, imaginary way, that makes ourselves identify with our present, with our most intimate emotions.
Exhibited at
PERSPECTIVE OF A NEW ORDER II, 2019
Formats
Photography, personal digital technique.
High quality cotton paper or direct printing on aluminum dibond.
95×70 cm, Edition of 2 + 1 A.P.
150×110 cm, Edition of 2 + 1 A.P.
High quality cotton paper or direct printing on aluminum dibond.
95×70 cm, Edition of 2 + 1 A.P.
150×110 cm, Edition of 2 + 1 A.P.
About
The perspective of a new condition, of a new order. Some place, at some point in our evolution. We are the audience of familiar situations, the perception of the world’s most common point of view. THE place for many. Comfort zone. This image aims to go beyond that and with its infinity of points and new perspectives it reminds us that the possibility of changing perspective is always in our hands. We can decide about our today, and consequently about our tomorrow, whenever it comes.
Exhibited at
πόλις, 2016
Formats
Photography, personal digital technique.
High quality cotton paper or direct printing on aluminum dibond.
52×48 cm, Edition of 3 + 1 A.P.
94×90 cm, Edition of 2 + 1 A.P.
High quality cotton paper or direct printing on aluminum dibond.
52×48 cm, Edition of 3 + 1 A.P.
94×90 cm, Edition of 2 + 1 A.P.
About
The πόλις are sources and accumulation of human energy. They are from their origins the very beginning heterogeneous centers of balance, symphonies of structures, harmonic reflections that also consume three quarters of the energy in the world to become the greatest laboratories of successes and failures of humanity. Centers of art, technique, design, science, lights, games. A continuum of trial and error. A fascinating and constantly evolving universe that allows discovering a parallel reality, more than real, all over the world.
Exhibited at
πόλις was selected for the exhibition “NFTsART” curated by Marisol Salanova for ArteInformado (Iberoamérica), 2021.
NADIR, 2012
Formats
Photography, personal digital technique.
High quality cotton paper or direct printing on aluminum dibond.
40×26 cm, Edition of 3 + 2 A.P.
90×60 cm, Edition of 2 + 1 A.P.
150×100 cm, Edition of 2 + 1 A.P.
High quality cotton paper or direct printing on aluminum dibond.
40×26 cm, Edition of 3 + 2 A.P.
90×60 cm, Edition of 2 + 1 A.P.
150×100 cm, Edition of 2 + 1 A.P.
About
If elevation, spirit, and mind lift us to universal spheres, the Nadir is the journey to the opposite point: introspection, the navigation of consciousness to uncover who we are in our essence. Nadir was born from observing the “Al Norte” (Spain) award-winning sculptural artwork created by artist Myrem González. In the image, the blue core and urban details blend with oneiric dreams, ancestral fears, and modern observation.
Exhibited at
Nadir was exhibited at:
- Fundación Carlos Amberes, Madrid (Spain), Artist Experience Fair, 2021.
- Gallery 4D/Arty, Madrid (Spain), 2017.
MOVIMIENTO LINEAR DE SALIDA, 2012
Formats
Photography, personal digital technique.
High quality cotton paper or direct printing on aluminum dibond.
40×26 cm, Edition of 3 + 2 A.P.
90×60 cm, Edition of 2 + 1 A.P.
150×100 cm, Edition of 2 + 2 A.P.
High quality cotton paper or direct printing on aluminum dibond.
40×26 cm, Edition of 3 + 2 A.P.
90×60 cm, Edition of 2 + 1 A.P.
150×100 cm, Edition of 2 + 2 A.P.
About
Movimiento Linear de Salida is the artwork that best encapsulates Kantfish’s most recurring concept. Kantfish constantly questions everything in search of new ways to interpret reality, aiming to demonstrate that in its most genuine essence, there is always room for dreams—to see things in a way we hadn’t seen before. There is always a way out. The theme of the artwork is the journey, the imagination, the form, the elegance, the possibility of leaving our confined space to find a place where we can expand our nomadic soul and freely venture into other physical and mental realms.
Exhibited at
Movimiento Linear de Salida was recognized and exhibited at Premio Internacional de Arte Plástico Obra Abierta (Caja Extremadura, Spain, 2012).
THE SKY ON THE BLACK SAND, 2020
Formats
Photography, personal digital technique.
High quality cotton paper or direct printing on aluminum dibond.
40×26 cm, Edition of 2 + 1 A.P.
90×60 cm, Edition of 2 + 1 A.P.
150×100 cm, Edition of 2 + 1 A.P.
High quality cotton paper or direct printing on aluminum dibond.
40×26 cm, Edition of 2 + 1 A.P.
90×60 cm, Edition of 2 + 1 A.P.
150×100 cm, Edition of 2 + 1 A.P.
About
The kaleidoscope of values and the multiplication of goals have led us to reflect on the countless mistakes. It is necessary that each one of us looks again into reality from the true and undeniable perspective of identification, so we can understand who we are. That WE ARE NATURE.
Exhibited at
The Sky On The Black Sand was exhibited at:
- Fundación Carlos Amberes, Madrid (Spain), Artist Experience Fair, 2021.
- ArtInSal, Mallorca (Spain), 2022.
SKIN SOUL, 2018
Formats
Photography, personal digital technique.
High quality cotton paper or direct printing on aluminum dibond.
40×26 cm, Edition of 3 + 2 A.P.
90×60 cm, Edition of 2 + 2 A.P.
150×100 cm, Edition of 2 + 2 A.P.
High quality cotton paper or direct printing on aluminum dibond.
40×26 cm, Edition of 3 + 2 A.P.
90×60 cm, Edition of 2 + 2 A.P.
150×100 cm, Edition of 2 + 2 A.P.
About
Dark as a skin emerging directly from the Earth.
The ocean leaves its pulse behind as an ephemeral trace of sea foam.
An elegant movement I wait for, I search for — one that restores a sense of harmony.
It is the experience of an ancestral beauty.
The ocean becomes a luxurious measure of life’s tempo.
It beats like a natural heart. In. Out.
Sea foam lays the ocean’s breath onto the golden sand, guiding me toward the most complete moment: the present.
It feels like submerging into myself.
The ancient wisdom of the sea unfolds as sound, as an intimate form of protection.
The power of this breathing strengthens me, holds me. In this moment, I find myself.
It is luxurious.
It is delicate.
It is endless.
Exhibited at
DEEP ELEMENT Nº26, 2020
Formats
Photography, personal digital technique.
High quality cotton paper or direct printing on aluminum dibond.
40×26 cm, Edition of 2 + 1 A.P.
60×40 cm, Edition of 2 + 1 A.P.
90×60 cm, Edition of 2 + 1 A.P.
150×100 cm, Edition of 2 + 1 A.P.
High quality cotton paper or direct printing on aluminum dibond.
40×26 cm, Edition of 2 + 1 A.P.
60×40 cm, Edition of 2 + 1 A.P.
90×60 cm, Edition of 2 + 1 A.P.
150×100 cm, Edition of 2 + 1 A.P.
About
An invitation to reflect on our essence and our identification with Nature. The sea is “more than real”, but totally natural, in order to create an intimate connection, the search of the essence that provokes an identification. The observer finds a balance of colours, rhythms and shapes that inspire us to feel what we are. We live exactly the same within.
Inspired by the work of New York painter Ran Ortner.
Exhibited at
Deep Element nº26 was exhibited at the Fundación Carlos Amberes, Madrid (Spain), Artist Experience Fair, 2021.
DELICATE, LUXURIOUS SYMPHONY, 2018
Formats
Photography, personal digital technique.
High quality cotton paper or direct printing on aluminum dibond.
40×26 cm, Edition of 3 + 2 A.P.
90×60 cm, Edition of 2 + 2 A.P.
150×100 cm, Edition of 2 + 2 A.P.
High quality cotton paper or direct printing on aluminum dibond.
40×26 cm, Edition of 3 + 2 A.P.
90×60 cm, Edition of 2 + 2 A.P.
150×100 cm, Edition of 2 + 2 A.P.
About
The golden texture, black waves that outline indistinguishable silhouettes. The sea that tops this delicate scene. This “more than real” scene leads the sea and the organic and inorganic life with it to a unique and elegant symphony.
Exhibited at
WE ARE COLOR, 2020
Formats
Photography, personal digital technique.
High quality cotton paper or direct printing on aluminum dibond.
90×60 cm, Edition of 2 + 1 A.P.
150×100 cm, Edition of 3 + 1 A.P.
High quality cotton paper or direct printing on aluminum dibond.
90×60 cm, Edition of 2 + 1 A.P.
150×100 cm, Edition of 3 + 1 A.P.
About
We are the color of the volcano crater in the middle of the Ocean. The colours of our most inner essence. The viewer finds this balance of colors, rhythms and shapes that inspire to feel what we really are. We live the same dynamics within us. That’s why our actions must be consistent with this certainty.
Exhibited at
IVORY, 2018
Formats
Photography, personal digital technique.
High quality cotton paper or direct printing on aluminum dibond.
90×40 cm, Edition of 2 + 1 A.P.
148×62 cm, Edition of 3 + 1 A.P.
High quality cotton paper or direct printing on aluminum dibond.
90×40 cm, Edition of 2 + 1 A.P.
148×62 cm, Edition of 3 + 1 A.P.
About
Intricate life, surprising, opens up in an instant while you run towards the volcano. A complex set of lines, each one on its own direction, intertwine, find each other, pull away from each other. The center, framed by an irregular outline, is the right dimension of our reality, uncontrollable and harmonious in its own irregularity. The acacia trees convey the miracle, run away from pain, pressure, uncertainty. A fantastic place, a unique place, a lunar place, where humanity lives a particular sociality and in a full respect relationship with nature. Good and evil defined by the cycles of nature are welcome with acceptance, with pride.
Happiness. Darkness. Everything seems to fade away. Then something happens and you see the light again. Unpredictable. I love the fractal shape of trees, navigating in the dark. It’s about getting lost and knowing that the only thing that matters is keeping exploring.
Exhibited at
TREE OF JOY, 2018
Formats
Photography, personal digital technique.
High quality cotton paper or direct printing on aluminum dibond.
40×26 cm, Edition of 3 + 1 A.P.
90×60 cm, Edition of 3 + 1 A.P.
150×100 cm, Edition of 2 + 1 A.P.
High quality cotton paper or direct printing on aluminum dibond.
40×26 cm, Edition of 3 + 1 A.P.
90×60 cm, Edition of 3 + 1 A.P.
150×100 cm, Edition of 2 + 1 A.P.
About
Outside the white sky with light and warm shades. The tree with intricate branches and red flowers that sprout among the sparse tufts of green leaves. It is a perfect form. It gives peace. I hear laughter from the house. It is only a “daily” day, it has a peaceful rhythm, it has no tears, it doesn’t want anything in return. The air is warm, but never suffocating. The sense of pleasure is felt, it becomes concrete. I lift the camera and follow those forms. They are moments of pleasure knowing that Tree of Joy was born. The tree of happiness. Of joy.
Joy is a treasure. You can find it everywhere. You just have to look for it. You must want to find it. You have to really look for it. To feel it. To enjoy every moment when you look at it and you know it’s real. Or more than real.
Exhibited at
POWERFUL SUNSET, 2020
Formats
Photography, personal digital technique.
High quality cotton paper or direct printing on aluminum dibond.
40×26 cm, Edition of 3 + 1 A.P.
90×60 cm, Edition of 3 + 1 A.P.
150×100 cm, Edition of 2 + 1 A.P.
High quality cotton paper or direct printing on aluminum dibond.
40×26 cm, Edition of 3 + 1 A.P.
90×60 cm, Edition of 3 + 1 A.P.
150×100 cm, Edition of 2 + 1 A.P.
About
Powerful Sunset is part of the series “Fogo”. This image represents a unique place, a lunar place, where humanity lives a particular sociality and in a full respect relationship with nature. Good and evil defined by the cycles of nature are welcome with acceptance, with pride. This woman in her typical pose is the orchestra conductor of her family, her farm. Her strength, her decision, her protection is revealed by a hyperbolic gesture in a unique landscape. Sunset in this island offers a diffused light, golden, a result from the “dry mist”, from humidity always present in the air.
Exhibited at
Powerful Sunset was exhibited at ArtInSal, Mallorca (Spain), 2022.
DISRUPTIVE COLOR, 2020
Formats
Photography, personal digital technique.
High quality cotton paper or direct printing on aluminum dibond.
98×80 cm, Edition of 3 + 1 A.P..
140×115 cm, Edition of 2 + 1 A.P.
180×150 cm, Edition of 1 + 1 A.P.
High quality cotton paper or direct printing on aluminum dibond.
98×80 cm, Edition of 3 + 1 A.P..
140×115 cm, Edition of 2 + 1 A.P.
180×150 cm, Edition of 1 + 1 A.P.
About
I am the volcano. A tapestry of embroidery of shapes, of volumes. An embroidery of natural colors, from the inner earth. A volcano is energy, it is force, it is fire. In our most intimate ourselves we feel peace admiring the purest of our origin. The volcano is in the middle of the ocean. A unique place to meet, to repeat to myself “I am Nature, I am the Volcano”. A necessary identification so as not to be spectators but authors of our progress.
Exhibited at
Disruptive Color was exhibited at:
- Fundación Carlos Amberes, Madrid (Spain), Artist Experience Fair, 2021.
- ArtInSal, Mallorca (Spain), 2022.
CRISPR TREE, 2020
Formats
Photography, personal digital technique.
High quality cotton paper or direct printing on aluminum dibond.
40×26 cm, Edition of 3 + 1 A.P.
60×40 cm, Edition of 3 + 1 A.P.
90×60 cm, Edition of 3 + 1 A.P.
150×100 cm, Edition of 2 + 1 A.P.
High quality cotton paper or direct printing on aluminum dibond.
40×26 cm, Edition of 3 + 1 A.P.
60×40 cm, Edition of 3 + 1 A.P.
90×60 cm, Edition of 3 + 1 A.P.
150×100 cm, Edition of 2 + 1 A.P.
About
The tree, originally from a remote island in Cape Verde (Africa), fluctuates in a dark environment. The mystery opens up to its bright colors and shapes inspiring energy, life, passion. The complex fractal figure of our existence that now faces a post-human era (as a result of the great scientific discoveries of recent years), where rationality reaches the limits of our knowledge. A new era where human wisdom should prevail.
Exhibited at
CRISPR Tree was exhibited at the Fundación Carlos Amberes, Madrid (Spain), Artist Experience Fair, 2021.
LONG WALK TO MOSTEIROS, 2024
Formats
Photography, personal digital technique.
High quality cotton paper or direct printing on aluminum dibond.
50×33 cm, Edition of 2 + 1 A.P.
90×60 cm, Edition of 1 + 1 A.P.
150×100 cm, Edition of 2 + 1 A.P.
High quality cotton paper or direct printing on aluminum dibond.
50×33 cm, Edition of 2 + 1 A.P.
90×60 cm, Edition of 1 + 1 A.P.
150×100 cm, Edition of 2 + 1 A.P.
About
Some moments remain among our strongest and most vivid experiences.
They are a present part of us.
Along the road descending from the crater, then the vast plain. The houses covered by lava.
The sun accompanies the fatigue. The destination is far.
The volcano guides the path from every side.
The path descends into the forest and reveals the correct trail.
Suddenly, a glow emerges among the trees, managing to unite the stories of the past, the lives once lived, with the moment, with the now, with what will be. Time is only now.
In that moment, life blossoms, everything makes sense. And this image is born like that. Warm and orange. Probably as an indelible mark of life.
Among colors, calm reflections, with time standing still between coffee terraces, the mules descending, the palms, the deep green.
Long Walk to Mosteiros is the life we will never pass through again.
Exhibited at
LIEVE. ESSERE E SVANIRE, 2025
Formats
Photography, personal digital technique.
High quality cotton paper or direct printing on aluminum dibond.
90×60 cm, Edition of 2 + 1 A.P.
150×100 cm, Edition of 1 + 1 A.P.
NFT on Ethereum, Edition of 1
High quality cotton paper or direct printing on aluminum dibond.
90×60 cm, Edition of 2 + 1 A.P.
150×100 cm, Edition of 1 + 1 A.P.
NFT on Ethereum, Edition of 1
About
The Sea is a central element of our ancestral existence. It is origin, mirror, and refuge. It is also a space of riflessione -where thought dissolves and inner truth begins to surface.
This artwork was born in the heart of the Mediterranean, between Barcelona and Mallorca. In silence. In the gentle murmur that nourishes introspection. Moments of ecstasy, of absolute concentration, of immersion in the deepest layers of myself -of ourselves. The Sea creates that harmony which unites everything. It is evident in this piece: delicate, elegant, subtle, yet full, filled with peace and infinity. Like consciousness itself.
Whoever is born in the Sea holds with it a unique, ancestral, and profound bond. Those who know this communion live it, feel it, and recognize themselves within it. The wise Sea -to be listened to in silence- invites us to reconcile with our own essence. I was -literally- born in the Mediterranean Sea, in the Ionian Sea.
My 2025 collection begins with the Sea and traces an essential path through the stages of human life. A journey of consciousness. Something to accompany daily existence. Art as a silent trigger for inner well-being.
Each image arises from a real experience, from a truly inspiring moment to me. A single frame is never enough. It is not about seeing but about feeling -about sharing energy. Without that synergy, understanding and enjoyment remain distant. Without that energy, one cannot hear what the Sea whispers in its depth.
Trivializing the Sea is a crime.
Exhibited at
INTIMATE CYBORG CONSCIOUSNESS, 2025
Formats
Photography, personal digital technique.
High quality cotton paper or direct printing on aluminum dibond.
90×60 cm, Edition of 2 + 1 A.P.
150×100 cm, Edition of 2 + 1 A.P.
NFT on Ethereum, Edition of 1
High quality cotton paper or direct printing on aluminum dibond.
90×60 cm, Edition of 2 + 1 A.P.
150×100 cm, Edition of 2 + 1 A.P.
NFT on Ethereum, Edition of 1
About
Intimate Cyborg Consciousness is the result of a visual and conceptual investigation into the essence of what we are beneath the surface: the timeless pursuit of the γνῶθι σεαυτόν, “know thyself”. The artwork explores the eyes as the threshold between the inner and outer worlds, the space where identity, consciousness and connection converge. The gaze becomes both an act of self-recognition and a transmission of humanity toward the other: a silent dialogue between intimacy and technology, mystery and light.
Emerging from an original photograph, the image evolves through a personal digital process that blends human sensibility with artificial intelligence as a creative instrument. For its creation, Kantfish employed Adobe Firefly Image 3 to generate and integrate subtle visual atmospheres; ChatGPT (GPT-4) to articulate conceptual depth and refine narrative coherence; Google Gemini (through AI Studio) to explore symbolic associations between body, identity and dream; and Grok-1 (xAI) to contrast perspectives on the human-machine continuum. Together, these models act not as mere tools but as extensions of consciousness, reflecting the hybrid territory where emotion, perception and code coexist. Visually, the artwork situates the viewer in a dark yet warm environment, a semi-shadowed field of soft light where the eyes emerge like magnetic portals. These eyes, suspended between digital precision and organic imperfection, reveal the beauty of inner consciousness in a cyborg age. The atmosphere evokes both serenity and tension: a dreamlike state where intimacy becomes technological and the body becomes luminous thought.
Exhibited at
Intimate Cyborg Consciousness was exhibited at The Wrong Biennale 2025.
The Wrong could well be the world’s largest art biennale – the digital version of Venice.
The New York Times
The Wrong could well be the world’s largest art biennale – the digital version of Venice.
The New York Times
NO TIME SQUARE, 2025
Formats
Photography, personal digital technique.
High quality cotton paper or direct printing on aluminum dibond.
90×60 cm, Edition of 2 + 1 A.P.
150×100 cm, Edition of 2 + 1 A.P.
NFT on Ethereum, Edition of 1
High quality cotton paper or direct printing on aluminum dibond.
90×60 cm, Edition of 2 + 1 A.P.
150×100 cm, Edition of 2 + 1 A.P.
NFT on Ethereum, Edition of 1
About
The work embodies a present and future dystopia, a landscape of confusion dominated by pervasive symbols of societal depression.
Originating from documentary photographs and later sublimated through personal digital and AI techniques, No Time Square superimposes multiple narrative layers where every detail matters: each fragment reflects a thought, a concept, a crack in our reality.
The result is an iconic portrait of an “eternal today” saturated with contradictions: forced happiness, laxity, contemporary totems, beliefs turned into prisons -mental and physical-, competitive anxiety and visual excess.
What at first sight seems fascinating ends up revealing its suffocating and claustrophobic nature: a “More Than Real” snapshot of what we are today, and a lucid projection of what we could become.
The artwork includes a critical reflection on What is success?, stemming from Kantfish’s years-long multidisciplinary research, inviting viewers to question societal values and human priorities. Layered information warns that true progress must remain human -beyond productivity-, urging reflection and change towards a more conscious society.
Exhibited at
No Time Square was exhibited at The Wrong Biennale 2025.
The Wrong could well be the world’s largest art biennale – the digital version of Venice.
__The New York Times
The Wrong could well be the world’s largest art biennale – the digital version of Venice.
__The New York Times
PERSPECTIVE OF A NEW ORDER, 2019
Formats
Photography, personal digital technique.
High quality cotton paper or direct printing on aluminum dibond
90×60 cm, Edition of 2 + 1 A.P.
150×100 cm, Edition of 2 + 1 A.P.
NFT on Ethereum, Edition of 1
High quality cotton paper or direct printing on aluminum dibond
90×60 cm, Edition of 2 + 1 A.P.
150×100 cm, Edition of 2 + 1 A.P.
NFT on Ethereum, Edition of 1
About
In Perspective of a New Order Kantfish proposes a critical reading of the urban landscape as a reflection of a fragmented collective consciousness. The photographic documentary artwork unfolds a visual universe of movement, color and tension, where the saturation of stimuli reproduces the informative vertigo of our times. In this scenario, the city becomes a metaphor for chaos. A structure in constant mutation where the clear message is “don’t stop”. The attractive, full of colors, reveals the chaotic to the attentive eye. It becomes clearer the confusion that reveals the fragility of an increasingly precarious balance.
The perspective of a new order does not emerge from harmony, but from collapse. Between the attraction of light and the oppression of noise, Kantfish captures the instant in which perception dissolves, where the real is distorted and the mind -overexposed to the continuous flow of data- loses its center. This confusing interpretation of reality, typical of contemporary hyperconnectivity, generates profound psychological effects: disorientation, anxiety, a silent and dilagent depression that fills the social fabric as a consequence of a cognitive and emotional overload.
Perspective of a New Order belongs to the Metropolis series, a project in which Kantfish examines how urban symbols of success and progress become distorting mirrors of our human condition. What once represented aspiration, today reveals emptiness; what appeared to be order, is pure fluctuation. Through the fusion of the documentary and the imaginary, the artist invites us to reconsider our relationship with reality, with the gaze and with the very meaning of being present in a world that never stops moving.
The perspective of a new order does not emerge from harmony, but from collapse. Between the attraction of light and the oppression of noise, Kantfish captures the instant in which perception dissolves, where the real is distorted and the mind -overexposed to the continuous flow of data- loses its center. This confusing interpretation of reality, typical of contemporary hyperconnectivity, generates profound psychological effects: disorientation, anxiety, a silent and dilagent depression that fills the social fabric as a consequence of a cognitive and emotional overload.
Perspective of a New Order belongs to the Metropolis series, a project in which Kantfish examines how urban symbols of success and progress become distorting mirrors of our human condition. What once represented aspiration, today reveals emptiness; what appeared to be order, is pure fluctuation. Through the fusion of the documentary and the imaginary, the artist invites us to reconsider our relationship with reality, with the gaze and with the very meaning of being present in a world that never stops moving.
Exhibited at
Perspective of a New Order was exhibited at The Wrong Biennale 11-2025 / 03-2026.
The Wrong could well be the world’s largest art biennale – the digital version of the Venice Biennale.
__The New York Times
The Wrong could well be the world’s largest art biennale – the digital version of the Venice Biennale.
__The New York Times
AI DECENTRALIZED METAVERSE, 2024
Formats
Photography, personal digital technique.
High quality cotton paper or direct printing on aluminum dibond.
60×60 cm, Edition of 2 + 1 A.P.
90×90 cm, Edition of 1 + 1 A.P.
NFT on Ethereum, Edition of 1
High quality cotton paper or direct printing on aluminum dibond.
60×60 cm, Edition of 2 + 1 A.P.
90×90 cm, Edition of 1 + 1 A.P.
NFT on Ethereum, Edition of 1
About
In the artwork AI-Decentralized-Metaverse photograph merges with AI, through the author’s personal digital techniques, creating immersive, three-dimensional universes where classical order dissolves into apparent chaos. Metropolitan structures blending with metaphysical spaces, generating visions that oscillate between harmony and dissonance. These hybrid landscapes invite us to question what is real, what is simulated and what exists in that in-between space.
The reality of a metropolis becomes a precious tapestry where fantasy meets consciousness and approaches the truth. The urban blends with the spiritual, and the landscapes of information are transformed into inner scenes of contemplation. In this territory, matter, light and code dialogue as equivalent languages, each revealing an aspect of what is human.
Kantfish proposes an expanded reading of the visible. His gaze -critical, poetic and technological- observes how the body, the city and consciousness intertwine in the same perceptive flow. Inspired by Heisenberg’s uncertainty principle, the project assumes that every observation transforms the observed: there is never a single truth, but a field of simultaneous realities that coexist in tension.
The series invites to a state of active attention, where observing means thinking. The images do not seek to represent, but to reinterpret: each artwork is a crack in the fabric of reality, an invitation to inhabit the mystery and accept multiplicity as the essence of our time.
In this universe, photography ceases to be a simple testimony of the world to become a living organism: an interface between emotion and algorithm, between consciousness and energy. A reminder that the real, when observed in depth, is always More than Real.
Exhibited at
AI Decentralized Metaverse was exhibited at The Wrong Biennale 2025.
The Wrong could well be the world’s largest art biennale – the digital version of Venice.
__The New York Times
The Wrong could well be the world’s largest art biennale – the digital version of Venice.
__The New York Times
