A kinetic artist and engineer with an unprecedented mastery of the moiré effect technique, he came to evolve the work of the great masters of this movement. Based in Argentina, he was born in Venezuela, where he trained as both an engineer and an artist, always closely connected to these forms of expression. Parratoro has exhibited in Buenos Aires, Miami, Berlin, Santiago de Chile, New York, Mexico City, and Luxembourg; he published an interactive book of his works called Pop on Op, distributed in 40 countries; designed the Kinetic Watch, handcrafted in Kyoto, Japan; created a mapping projection using his technique on the Obelisk in Buenos Aires; and intervened at Lollapalooza Argentina 2022. Parratoro also transformed the façade of LANDMARK stores at the largest location in Shopping Unicenter, and created the first NFT for the Renault brand.
Digital Plasticity
Parratoro’s work is closely tied to kinetic art and op art from a contemporary perspective. These styles, developed in the 20th century, are the starting point of his work, where he seeks to control the randomness of the moiré effect. In this space of research, the artist finds a way to create geometric figures based on moiré, beyond the “error” that the optical ripple typically represents. Controlling, calculating, and manipulating the moiré sequence is the technical and artistic update that Parratoro brings to the tradition of kinetic art.
With Digital Plasticity, Artlab Gallery presents an innovative proposal that expands the horizon of moving visual arts. The exhibition features a central body of five hybrid works that include digital media. Instead of working on prints, the artist intervenes with screens that display abstract shapes in motion, with minimal evolutionary changes and color shifts. The interference patterns—material structures created from mathematical calculations in printed acrylic and transparencies—invite the viewer’s participation. As one moves in front of the work, the viewer simultaneously perceives their own movement and that of the digital medium, which also functions as a light source. This kinetic layering system opens new dimensions in perceptual experience.
Located at the center of the gallery is an additional work—an abstract, geometric, and three-dimensional piece that is also completed through the viewer’s perception/participation, this time mediated. Another hybrid work, in which the object takes shape as an abstract volume that reveals new meanings through augmented reality, a technology the artist has been working with for some time.
Across the twelve-meter-long wall screen of the gallery, Parratoro projects three-dimensional abstractions of elements that evolve while maintaining volume. These have plastic qualities, like a manifesto of materialization and spatial flotation.
