David Moreno's work has moved between two universes: that of the figuration of sound and that of the sonority of images, rescuing and revolutionizing the long tradition of modern kineticism. His interest in the intersections between music and painting has not only been of a formal nature, but has constituted a way of interrogating the essence of the artistic image as resonance and silence, and the body of the visual itself. In this way, its resistance, physical irradiation, capacity and substance are reflected as repetitions, cuts, incisions and visual vibrations.

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In the artist's words: “Music exists and shapes time in a specific duration. It is an art that reflects, in an abstract way, our sense of what it means to be alive. The challenge of working with two-dimensional and static materials lies in giving them that quality of movement and duration, of giving life to the inert.”

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Through sound installations, a process of technological archeology, electro-acoustic experimentations and through drawing and photography, Moreno has built a solid body of work since 1981. Impressed by David Lynch's film Eraserhead, he began to become interested in the management of 35 mm cameras and shooting with Super8. This experience, combined with his pictorial performance and a fascination for spirals and circles – and the childhood game of spinning around on oneself until one gets dizzy – allowed him to discover the capacity of the camera to capture acoustic and visual events in an abstract language.

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From the beginning, David Moreno has tried to imbue his work with a physical quality, involving his body and hands in the image production process and resorting to paper as a support to maintain a scale and human contact in the piece, and thus show that All technology is an extension of the body. His choice of paper, over other more established supports such as canvas, has made possible a break with a certain cultural gravity: “The relative ephemeral nature of paper reinforces the type of imaginary that I am interested in working with, an imaginary that, like paper itself, It is also based on a transitory condition.”

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The cleanliness, clarity and immediacy of the lines in his drawings, as well as the simplicity of his sensory pieces, not only constitute an enjoyment reminiscent of children's entertainment but also invite reflection and a parody of the digitalized world, although without providing answers. definitive, since his work is the result of exploration and permanent curiosity.