The “Omnia Artificialis” series proposes a body of work that is built from a database of approximately 2,000 images of fungal drawings from various botanical studies, these were subjected to artificial intelligence processes (machine learning) from which they are generated thousands of images similar to the original illustrations but that do not exist in "reality". Subsequently, a dialogue is established between what is generated by the AI and various photographs of objects from the colonial period in Venezuela belonging to the artist's personal archive. Through digital manipulation, a dialogue between objects created directly by man and images generated by a machine is established. Given the nature of these processes, the distinction between the concepts of "artificial" or "real" becomes intricate, opening fields of reflection on the perception of them.
