ALGORITHMIC
LINE ART
Explores algorithmic drawing system through custom-built plotters, robots and traditional artistic tools
ABOUT ME
I was born in 1980 and currently live and work in Madrid, Spain.
My practice exists between drawing, systems, machines, and physical matter. I work with custom-built pen plotters, algorithmic structures, and traditional artistic media to explore how contemporary drawing can evolve beyond the limits of the hand while still remaining deeply human.
For me, machines are not replacements for artists. They are extensions of perception, gesture, rhythm, and thought.
I have always been interested in structure — in the hidden geometry of the world, in repetition, in the tension between precision and instability. Long before I began constructing drawing machines, I was drawn to systems: architectural grids, fragmented environments, mechanical movement, interference patterns, accumulated marks, and the way simple lines can completely transform how we perceive an object or space.
My work is rooted in drawing, but not in the traditional sense. I see drawing as a spatial and temporal process rather than a static image. A line is not only a contour. It is movement, duration, pressure, rhythm, error, memory, and decision.
In 2020, I began researching and building my first experimental plotting systems. What started as a technical investigation gradually became a philosophical one. I was not interested in automation for its own sake, nor in producing machine-perfect images. I became interested in the opposite: how mechanical systems generate unpredictability, fragility, and material complexity.
Over the years, I developed multiple generations of custom-built pen plotters designed specifically for artistic experimentation rather than industrial precision. In 2026, I completed the fourth generation of my drawing system — a large-scale custom plotting machine with an automated mechanism capable of switching between 31 independent tools, including pens, markers, brushes, graphite instruments, and modified drawing devices.
This system allows me to work with layered physical media in ways that are impossible through purely manual or purely digital methods. Each work becomes a negotiation between programmed structure and material resistance. Pressure changes. Ink behaves unpredictably. Brushes deform. Pigment accumulates. Small deviations transform the final image.
These imperfections are not failures of the machine. They are the work itself.
My visual language is built around line-based deconstruction. I use layered systems of lines to fragment and reconstruct architecture, landscapes, objects, natural forms, and urban environments. Through accumulation and repetition, recognizable forms begin to oscillate between representation and abstraction. Images emerge slowly from density, interference, rhythm, and structural tension.
Conceptually, my work explores the relationship between control and unpredictability, between human intention and autonomous systems. I am interested in the moment where authorship becomes distributed across software, mechanics, physical tools, materials, and the body of the artist.
I see my practice as part of a broader lineage of conceptual, generative, and systems-based art. The work of Sol LeWitt fundamentally changed how I think about structures and instructions as artistic language. The algorithmic experiments of Vera Molnár demonstrated that computational systems could possess emotional and visual sensitivity. The optical instability of Bridget Riley revealed how rhythm and repetition can physically affect perception. The reduction and spatial discipline of Piet Mondrian continues to influence my understanding of structure and balance.
At the same time, I am deeply interested in the future of physical image-making in a post-digital culture. Today, images are increasingly frictionless, infinite, and immaterial. My work moves in the opposite direction. I want drawing to regain weight, resistance, accumulation, and presence.
That is why the physical process remains essential to my practice. Every line exists materially. Every mark occupies space. Every drawing records time, movement, and mechanical interaction.
I do not see my machines as tools for reproducing images. I see them as instruments for constructing new forms of drawing.
Ultimately, my work is an attempt to rethink what drawing can become in an era shaped by algorithms, computation, and intelligent systems — without abandoning the physicality, vulnerability, and unpredictability that make art human.
Explores algorithmic drawing system through custom-built plotters, robots and traditional artistic tools
Explores algorithmic drawing system through custom-built plotters, robots and traditional artistic tools
FAQ
In my work, I use a wide range of traditional artistic and graphic tools adapted for custom drawing machines. These include oil-based ballpoint pens, acrylic markers, watercolour pencils, brushes, acrylic markers, and watercolour brush markers.
Oil-based ballpoint pens are especially interesting to me because of their stability, fine line quality, and long writing distance. Depending on the model, a black pen can write for several thousand metres, which is essential for long-duration works with a large number of trajectories.
For acrylic works, I often use Molotow and Liquitex markers because they provide strong pigmentation, good opacity, lightfastness, and durability. I also experiment with Faber-Castell watercolour pencils, traditional brushes, acrylic markers, and watercolour brush markers in order to expand the possibilities of the plotter beyond the standard graphic line.
For me, the tool is not simply a way of applying colour. It is a physical mediator between the algorithm, the machine, the surface, and the artistic intention.
Oil-based ballpoint pens are especially interesting to me because of their stability, fine line quality, and long writing distance. Depending on the model, a black pen can write for several thousand metres, which is essential for long-duration works with a large number of trajectories.
For acrylic works, I often use Molotow and Liquitex markers because they provide strong pigmentation, good opacity, lightfastness, and durability. I also experiment with Faber-Castell watercolour pencils, traditional brushes, acrylic markers, and watercolour brush markers in order to expand the possibilities of the plotter beyond the standard graphic line.
For me, the tool is not simply a way of applying colour. It is a physical mediator between the algorithm, the machine, the surface, and the artistic intention.
The time required to create one work depends on several factors: size, number of colours, image density, resolution, number of G-code lines, number of tool changes, and the complexity of the trajectories.
Preparing the working file usually takes about one day. This stage includes image preparation, layer separation, palette setup, trajectory generation, optimisation of the execution order, G-code verification, and adaptation of the file to a specific plotter.
The physical execution of a work can take from 5 hours to several days or even weeks. The longest work I have produced so far required 21 days of continuous plotter operation. In such projects, time becomes part of the artwork: each line records not only a coordinate, but also the duration of the process.
Preparing the working file usually takes about one day. This stage includes image preparation, layer separation, palette setup, trajectory generation, optimisation of the execution order, G-code verification, and adaptation of the file to a specific plotter.
The physical execution of a work can take from 5 hours to several days or even weeks. The longest work I have produced so far required 21 days of continuous plotter operation. In such projects, time becomes part of the artwork: each line records not only a coordinate, but also the duration of the process.
I mainly work with large formats such as 70 × 100 cm, 81 × 100 cm, 100 × 100 cm, and similar dimensions. Among paper manufacturers, I give preference to Fabriano and Clairefontaine.
It is important to me that the paper is high-quality, stable, acid-free, and suitable for long-term preservation. These materials help preserve the pigment and are less prone to yellowing or deterioration over time.
For works on canvas, I use cotton or linen canvases stretched on wooden frames, similar to those used in traditional painting. One of the technical challenges was to work not only on flat sheets, but directly on a stretched canvas.
To make this possible, I developed a special support and fixing system that allows the plotter to draw directly onto a canvas already stretched on a frame. This makes it possible to combine algorithmic drawing with the classical format of a painted
It is important to me that the paper is high-quality, stable, acid-free, and suitable for long-term preservation. These materials help preserve the pigment and are less prone to yellowing or deterioration over time.
For works on canvas, I use cotton or linen canvases stretched on wooden frames, similar to those used in traditional painting. One of the technical challenges was to work not only on flat sheets, but directly on a stretched canvas.
To make this possible, I developed a special support and fixing system that allows the plotter to draw directly onto a canvas already stretched on a frame. This makes it possible to combine algorithmic drawing with the classical format of a painted
I use custom large-format plotters that I design, build, and refine myself according to the needs of my artistic practice. These are not standard commercial machines, but specially developed drawing systems created for different tools, large formats, and long execution cycles.
The latest version of my plotter can work with 31 interchangeable tools and produce works larger than 1 × 1 metre. This system allows the machine to automatically change pens, markers, brushes, and other working tools within a single project.
For me, the plotter is not a printer and not a copying machine. It is an execution system that translates code into physical movement, and an artistic idea into a material trace.
The latest version of my plotter can work with 31 interchangeable tools and produce works larger than 1 × 1 metre. This system allows the machine to automatically change pens, markers, brushes, and other working tools within a single project.
For me, the plotter is not a printer and not a copying machine. It is an execution system that translates code into physical movement, and an artistic idea into a material trace.
I use a wide range of digital tools to prepare final works, but my main tool is still my sketchbook. The first ideas, compositional structures, series logic, colour decisions, and technical principles of future works are born on paper.
After that, these ideas move into the digital environment. Depending on the project, I use Processing, Inkscape, ParaGraphix / Paragraphic, vpype, DrawingBotV3, the command line, raster and vector editors, as well as custom workflows for preparing G-code.
Sometimes I even use Excel to develop and test colour palettes, sequences, and structures — as unusual as that may sound. For me, what matters is not the conventional purpose of a tool, but its ability to help build a system.
For mechanical design and prototyping, I use Fusion 360 and PrusaSlicer. I also actively use 3D printing, which greatly accelerates the development, testing, and production of components for my plotters.
My practice exists at the intersection of hand drawing, engineering, digital code, and physical material. Software is therefore not the final point for me, but part of a long chain: from an idea in a sketchbook to a line applied by a tool onto paper or canvas.
After that, these ideas move into the digital environment. Depending on the project, I use Processing, Inkscape, ParaGraphix / Paragraphic, vpype, DrawingBotV3, the command line, raster and vector editors, as well as custom workflows for preparing G-code.
Sometimes I even use Excel to develop and test colour palettes, sequences, and structures — as unusual as that may sound. For me, what matters is not the conventional purpose of a tool, but its ability to help build a system.
For mechanical design and prototyping, I use Fusion 360 and PrusaSlicer. I also actively use 3D printing, which greatly accelerates the development, testing, and production of components for my plotters.
My practice exists at the intersection of hand drawing, engineering, digital code, and physical material. Software is therefore not the final point for me, but part of a long chain: from an idea in a sketchbook to a line applied by a tool onto paper or canvas.
