Lufo Art embraces the slow experience of making an artwork: building an image as a form of meditation; thinking as a way of materialising a different world in front of you; creativity as the explorative practice of understanding.
Why? Because creativity is often associated with the opening of the mind, crossing boundaries, leaving structures behind, and searching for the unknown; and – maybe because the way we live nowadays – it seems people need to link such states to psychotropic substances or alcohol, as if lowering the guards of consciousness were necessary for freedom and creativity. However, the human mind can also move beyond structures without consuming anything, we see it in children then the fly on a paper without any other concern. Adult creativity may be less limited by the absence of substances than by fixed ideas about what the final artwork must be: expectations, frustration over what was not achieved, and a focus on results rather than on the pleasure of making. This tendency reaches a climax today, when artificial intelligence can generate an impressive image in seconds. But: “suppose we invent a machine that make love better than you, would you stop making love? The machine can do it instead of you, but it cannot do it for you” (A. Araújo).
For Lufo, the more tools and knowledge we gain, the more freely we can play in abstract space – and the wilder the mind can move across the canvas… all without substances… and without brain damage.
Biography
Lufo (b. 1985, Córdoba, Argentina) is a contemporary artist and curator who holds a PhD in Digital Media Art, a PhD in Design and Innovation, and degrees in Architecture and Building-Architecture Engineering. Lufo has been based in Berlin since 2021, where he has been building an artistic realm from his life experiences, books, travels, studies and academic research. He blends all his background in detailed carefully crafted art, in all kinds of parallel and conical perspectives and in fully immersive handmade spherical and cubical perspectives. He created the installation “Spheri” for enhancing and easing the viewing and experience with his VR drawings, allowing viewers to engage interactively through body-tracking gestures. Some of this art-practice-based research focuses the paradigms of perception (like M. C. Escher used to do), which he materialises in dynamic, fluent, relative and never-ending artworks, right as he perceives that reality might be (and worth living like).