Costo Bravo · Press kit

Statement

There is a lot of building in my work, literally and figuratively. Architectural themes of course, but also the work itself: pieces evolve and often inspire or get reused in the next ones. I work in series, usually a single idea iterated. Megastructures and Non Finito both unfolded over a long period of time, each exploring different facets of one umbrella concept.

I like systems and granular work, where steps are repeated over and over, from one piece to the next or on the same piece. Each Buidler is the result of multiple texturing runs through AI, a sequence of different tools repeated for every one of them. Film photography, collage, code, AI, generative systems and on-chain recursion all have their place, and I document the work on-chain, where it is preserved robustly and immutably.

Whatever the medium, I focus on texture, resolution and tactile qualities. I have a fascination for analogue textures in the digital world, especially in an era of AI and high-resolution image generation, and I'm drawn to imperfections, glitches and accidents. I find beauty in minimalism, as in Paperhand and Non Finito (The Builder), but I lean towards maximalism more often than not. More is more.

Many of my pieces feel otherworldly, and many of their architectures go against the laws of physics. I imagine a world on top of what I see and build my own dimension in it. I enjoy complex works that can be read through many layers, with deeper foundations for anyone who digs. The themes explored are often drawn from philosophy, art history or symbolism.