If there is a transversal concept that characterises the pieces now presented by the Argentine artist and designer Six N. Five (Ezequiel Pini), it is that of digitalisation. This concept has become so common in our colloquial language that we often tend not to think about it. In this case, digitalisation does not refer only to the artist’s preferred working method—the geometrisation of space through third-dimensional modelling—but to its fundamental definition, that is, the discretisation that separates the form from the background of reality.

In this sense, Species represents a morphological study of the dynamism that inherently resides in a figuration that transcends the boundaries between tangible architectural space and digital modelling. This approach opens a virtual space of imagination that begins with the infinite canvas of a software programme through which the artist captures post-natural dreamscapes where its elements are represented not by the traditional soft and curvilinear figures that are commonly associated with nature, but through right and pointed angles that reaffirm their own entity: squared valleys, rhomboid waves, a matrix of clouds, a fractal forest, a pixel-sun... The orchestration of each of these digital species that inhabit the computationally rendered worlds translates into an experience meticulously designed to call into question the viewer's prejudices regarding the discreet nature of our reality.

The world of Six N. Five allows us to stay at a digital Zen garden where the impossible shapes of the landscape blur the dichotomous opposition between aspects such as the organic and the inorganic, continuity and discretion, nature and artifice, waves and particles. This exhibition is proof that in the digital there also resides a natural dimension of spontaneous creativity that deserves to be explored and experienced.