PHASE I: THE EVENT HORIZON (2011–2015)

MD-2011 | Sector: Clinic with Gabriel Valansi (Autonomous City of Buenos Aires)
Training and reflection phase. A critical rupture occurs in the navigation systems, and the pre-established notion of the artist collapses. The itinerary is reconfigured.

MD-2012 | Sector: Artist’s Studio (Santa Fe)
Beginning of the “Fantastic Binomial” series, based on the concept developed by Gianni Rodari in The Grammar of Fantasy. Large-format drawings in which reality and the absurd merge. They register the collision between the adult world (ordered, delineated, and plausible) and the world of childhood (solitary, complex, and closer to fantasy).

Observation: In Wolfgang Petersen’s film The NeverEnding Story (1984), the idea of THE NOTHING (reality) is introduced as a darkness that threatens to devour fantasy. Artistic practice as a form of resistance becomes essential.

MD-2015 | Sector: Artist’s Studio (Santa Fe)
In “Surface of an Event Horizon” (Sides A and B), unverifiable theories formulated by science and through art are explored. Drawing and installation function as portals toward heterotopic spaces.

Reference: Michel Foucault defines heterotopic spaces as real places that function as spaces of otherness, where the habitual norms of society are suspended, inverted, or questioned. Reading Ray Bradbury’s The Martian Chronicles (1950) reinforces the idea of apocalyptic worlds that, when viewed up close, become pure ecosystems in the process of construction.

PHASE II: COSMIC OBSERVATION (2017–2019)

MD-2017 | Coordinates: Pierre Auger Observatory (Malargüe)
Field expedition in which it is discovered that space is not only observed from a distance, but also received: particles and cosmic rays constantly pass through the atmosphere, imperceptibly impacting the territory and the body.

Action: Placement of a box covered with silver tape on the detection tanks. Art infiltrates the scientific method and approaches it as a system of analysis and thought.

MD-2018 | Transit: National Astronomical Observatory (Bogotá) – El Leoncito (San Juan)
Exchange of data with scientists. Images of galaxies are collected in digital format; science produces drawings.

Finding: Fantasy is the starting point and essential fuel of scientific thought. Under the artist’s gaze, flows of information create aesthetic patterns; data behaves like pigment.

MD-2018 | Museum of Contemporary Art, UNL (Santa Fe)
The installation “What I discover today, I will erase tomorrow, only to write it again, and what I wish to discover, I will look at with distrust” brings together drawings, watercolors, sculptures made from technological waste, and notes. A pause in the journey to unfold and reflect upon the ideas gathered along the way.

MD-2019 | Sector: Manta Residency (San Martín de los Andes)
The appearance of a technological artifact: the blanket created by NASA’s Marshall Space Flight Center as a lightweight thermal insulator for suits and satellites.

State: The golden rectangle becomes the mission’s shield. First video recording in which the body protects itself from particles, a refuge in the landscape against the universe.

PHASE III: DARK MATTER AND COLLAPSE (2020–2021)

MD-2020 | Event: Global Anomaly (Pandemic)
Systems on pause. The refuge becomes mandatory.

MD-2021 | Sector: Artist’s Studio (Santa Fe)
Moving through a nebula of melancholy, with the risk of becoming submerged in dark matter. Thermoformed armor is created from high-impact plates.

“The Persistence of Memory in the Backbone of the Night” is a series of objects/shields designed to protect emotional vulnerability.

Reflection: Depression and anguish, like dark matter, neither receive nor emit light, manifesting instead through their gravitational power to affect everything that surrounds us.

PHASE IV: RADIANCE AND VALUE (2022–2024)

MD-2022 | Sector: Rafaela (Santa Fe) and La Paz (Entre Ríos)
“We Are Children of Chance” is a large-scale installation/refuge. A non-place in which to take shelter from the sense of abandonment produced by the question of our place in the universe—or, in Carl Sagan’s words, its indifference to our existence.

MD-2023 | Sector: Cott Gallery (Autonomous City of Buenos Aires)
In his first exhibition at the gallery, “Fulgor (The Secret of the Rainbow)” questions the concept of value in art and brings into discussion the protective measures implemented by museums for safeguarding works of art.

Protocol: To cancel the gaze upon the artwork in order to protect it from a future apocalypse.

MD-2024 | Sector: University Cultural Space (Rosario)
“The Other Sun” closes the trilogy at the former Banco Nación building. A massive deployment of 200 golden blankets. The refuge occupies the center of the financial system.

PHASE V: QUANTUM ENTANGLEMENT (2025–2026)

MD-2025 | Sector: Artist’s Studio (Santa Fe)
Mission event: a new line of inquiry emerges in parallel. The writing of the book “Residue of a Programmed Desire. Love in the Synthetic Era” begins.

This time, the journey is not one of physical displacement, but a deep incursion into one’s own sensitivity, guided by a question:

What if love were what remains when there is no one left who knows how to name it?

MD-2025/2026 | Sector: Artist’s Studio (Santa Fe)
Return to painting. Exploration of stormy atmospheres. The blankets are the first recipients of visual stimuli, an exercise aimed at making visible the universe that runs through us. Landscapes encountered during these explorations seep into the fabrics, rearranging brushstrokes and colors.

Theoretical State: Application of quantum entanglement: if two entangled particles become separated across the universe, whatever happens to one will happen to the other.

Final Reverberation: The poetic impulse is an inexorable human constant. Escape is an almost impossible and, ultimately, sterile task. By nature, we are an echo that persists in naming the invisible.