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Claudio Castillo was born in Havana, Cuba, raised in Europe, and lives in Miami. He has been painting and exhibiting watercolors for over thirty years. Since 1980 he has been involved with computers, animation, video, and film. In 1983 he founded a computer animation software company and production studio in New York.

He moved to Miami in 1992 and works there as an artist, video editor, and animator.Over the last ten years he has been exhibiting his animated work all over the world in major fairs. He has shown and is collected by Museums in China and the US.


In my work, the worlds of painting, animation, and computer programming conspire together in a subtly subversive take on software art. The watercolor image has traditionally existed as a unique original, along with the possibility for reproduction. Software art has often focused on a program generating complex images that mirror the endless variables made possible by computer coding.

I have found a way to marry these opposing practices by embedding software in dreamlike, poetic watercolor landscapes, creating “non-linear regenerative paintings.” Unlike repetitive video art, these images endlessly evolve in a random progression in which no single composition will ever be precisely repeated at least, not for hundreds of thousands to trillions of years depending upon the number of layers in the painting.

I begin with digitized versions of my watercolors; split the images into several layers, and then animate each one independently in multiple ways. This creates the possibility of countless variations of the painting within each composition. I have also integrated natural cycles into these works, such as the moon and the tides, which are represented figuratively in the paintings’ imagery, while their animated movement and phases are controlled by real-world, real-time cycles, whose algorithms are pre-programmed into the work.

I want my iconography to resonate as organic matter as well as abstract forms: Water, flowers, rain, sun, vines, grass, roots, sky, rocks are rendered schematically and move subtly toward abstraction. The introduction of multiplicity, chance, and natural cycles into a single image, and its pre-programmed control, opens the work up to a world of puzzling juxtapositions: impermanence / ceaselessness, fine art / technology, original image / duplication / live data.

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