Infinites AI+IRL
NFT, 2021

Infinites AI+IRL is a body of work of unique artworks generated at the time of the minting process. 

Infinites AI was created with the idea of overlapping the work of a Generative Adversarial Network (GAN), with an on-chain Generative operation. The intersection of the two processes is resolved in an engaging simulation diluting an AI-generated image into a digital canvas.

Ars Electronica Garden of … Knowledge for Humanity

Ocean Amplification, 2020

With Stefan Helmreich
Digital Video 9:29

Ocean Amplification is a video montage that offers visualizations and simulations of ocean waves, waves whose heights are growing in some parts of the Southern Hemisphere owing to the effects of climate change, which include intensified storms and latitudinal shifts in wind patterns. Developed by cultural anthropologist Stefan Helmreich and artist Francisco Alarcon, the video frames increasing wave heights in the Oceanic South as avatars of changing human-inhuman political ecologies.


, 2020 
Installation. Custom Software, Video, Sound, IGTV and your mobile device

On view on IGTV during lockdown due to the SARS-CoV-2 outbreak   link︎

Rough Surface, 2019  
Software, Custom Built Computer, and TV Screen


Francisco Alarcon is an artist and engineer, whose research interests lie at the intersection of visual arts and technology, with a focus on cultural techniques.

Bio, Cv and Contact information→

Crashing the High Dynamic Range (Back to the Truman Show), 2019, Custom Hardware, Video Loop
Crashing the High Dynamic Range (Back to the Truman Show), 2019, detail from MICROLOGIES. Exhibition Curated by DXIX, Los Angeles in collaboration with Scharaun, Berlin. ︎ See pdf, 2019, Carved Wood Panel, 50x40cm, 2019, Acrylic Spray Paint on Carved Wood Panel,50x40cm, 2019, Carved Wood Panel, 50x40cm

The Last Wave, 2019
Aluminum, 18x44in

Rough Surface II, 2019
Installation, Boston University

La Piscina de Barragan (Casa Prieto. Ciudad de Mexico), 2019
Inkjet ink on Photographic Paper, 44x64 in 
La Piscina de Barragan (Casa Prieto. Ciudad de Mexico)

Immersion, 2019
Video Installation, ArtLab, Harvard University, MA

BOSS Wave, 2019
High-density polyethylene, 24x12x4in 

Crispy Hard Crispy Fat,

is a project that expands theoretical research on the technical specificity of post-photographic image production into the art studio practice, more precisely into “painting culture”. It questions artistic research practice, the art object, and institutions, in dialog with science and technology.  

Installation Images at Carpenter Center for the Visual Arts, Harvard University, 2018, 2019, Acrylic Paint on Acrylic Panel, 50x40cm

Picking Up The Pieces


Dust is an immersive installation, where I am interested in positioning the viewer as the subject in the polluted atmosphere. The installation is a set of layered techniques from disciplines across science, engineering, and art towards the realization of a presentation of the atmosphere we will live on.

Dust, Software, Custom Computer, Installation, 2018
Installation Images at Carpenter Center for the Visual Arts, Harvard University, 2018

Water Games, An Archeology of the Representation of Water in Video Games.


Computer-generated imagery (CGI)erupted with the development of software and hardware. CGI is ubiquitous in our contemporary culture, and its history is relatively short, compared to other traditions such as art, film, or photography. However, the field of CGI interacts with the precedent fields, blurring the disciplines. 

The approach to computer graphics in this paper is made in material terms: computer power and processes. The evolution of CGI is intrinsically attached to the development of computing power.

For instance, the growth of Graphics Processing Units (GPUs) transformed CGI. After the year 2000, the advancement of the technology supporting the GPUs happened at an exponential pace. During the early 2000s, the rendering rate, measured in pixels per second, has doubled every six months. The incorporation of GPUs to computational systems has allowed a degree of flexibility as well as increased performance in the processing of graphics.

Water has always been present in video games. We might often see a realistic simulation of water in contemporary video games; however, the development of its representation can be traced to the early days of gaming, from the 8-bit programs through to the birth of 3D graphics. The representation of water is one of the hardest things to be done in a game, especially if the aim is to be realistic.

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Selection _pre2018

Go to Archive to see more Paintings →

Steel, Plastics, Sausages and Lap Dances, 2016, Installation at Graduate School of Design, Harvard University
Goldberg & Solovy Foods Inc, 2016, Inkjet ink on paper, 91.5x44 in

Decentralized Autonomous Kunstverein (DAK)

The Decentralized Autonomous Kunstverein (DAK) is an art association inspired by developments in blockchain technology and the unique Kunstverein tradition of non-profit art associations in Germany. 

Being a Decentralized Autonomous Organization (DAO), the DAK will be a net-based organization that is directed and funded by its members on a voluntary basis, without a permanent space or home jurisdiction, initiating projects however and wherever on the globe its members decide.  The organization’s mission is to promote experimental approaches to creating and curating contemporary art, exploring the potential of decentralized collective work within the context of contemporary art and technology.  To fulfill this purpose, the members of the DAK will collectively work to finance and curate exhibitions, screenings, performances and related programming.


Parallax Island

Artificial Artificial Intelligence

AAI (Artificial Artificial Intelligence), 2017, Poems
Human-as-a-Service, 2017, Video

$AMZHQ2, Architecture, 2018
Proposal for Amazon Head Quarters 2, Long Island, New York

Momentos en La Long Beach

Momentos en La Long Beach, 2015

Inkjet Print on Wall Paper, Acrylic Paint and Acrylic Paint on Wood Panels
Installation at 5790 Year 1. Center For the Arts in Eagle Rock, CA

Innerscapes, 2011
Digital Video with Sound
Duration 4:04
16:9 Ratio NTSC

Innerscapes, 2014, Installation, Digitalfile (curated by SPECTRA), H&R Block Artspace Kansas City Art Institute, Kansas City, MO

Chapuzon in Owens Lake, 2014, Latex Print on Mylar

Presa, 2013, Inkjet Print on Canvas

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