STATEMENT In June 2010, at the Moscone Center in San Francisco (California), Steve Jobs introduced the iPhone 4 to an audience eager to discover Apple’s next revolutionary device. This _smartphone_ not only set a milestone in design and functionality but also defined what would become the standard in the tech industry. Furthermore, it provided the material conditions for a paradigm shift that unfolded throughout the decade, culminating in 2020 with the COVID-19 crisis and the institutionalization of digital technology in everyday life. This turn, which we might call digitalization, has been the subject of various theories and research lines, such as platform capitalism (Nick Srnicek), digital or Big Tech capitalism (Evgeny Morozov), and silicolonization (Éric Sadin). These perspectives establish a theoretical framework that informs my artistic practice, from which I reflect on how the digital transforms our ways of life.
During the years when these changes were taking shape, I balanced my Fine Arts studies with a job at an Apple Store, where I worked from 2011 to 2022. This job not only allowed me to fund my education but also gave me a close-up view of the expansion of digital culture and its implications. Drawing from my experience as an ex-Apple employee, my artistic practice focuses on investigating how digitalization impacts the production of contemporary subjectivity, paying particular attention to issues related to labor and social class. I also examine how digital devices exert agency over our bodies and how the concept of the cyborg is constructed through the narratives and strategies of Silicon Valley’s major tech companies. In this sense, my practice seeks to articulate a critique of the systems that shape us, offering reflections on the role of the individual within the technological machinery and exploring the possibilities of collective resistance and autonomy in an increasingly digitally mediated context.