Whether I'm the author of my own work, or whether that title belongs to a collective, a community or a machine, the work must show.

I trained as a filmmaker in Santiago de Chile. My first feature, Manuel de Ribera, was shot in 2009 on a remote island in northern Patagonia, where I wrote the scenes as we were shooting them (oh god, we were young). It premiered the next year at the International Film Festival Rotterdam.

For the last decade I've made work out of cultural archives, in moving image and in digital interfaces. A machine that made more than 15,000 short experimental films out of Eye Filmmuseum's collection between 2017 and 2023 (Jan Bot). A web documentary about Chile, made collectively, one static shot at a time (MAFI). Interfaces that let people walk into a collection an AI has reimagined, biases and all (Typologies of Delusion).

Third Eye Media is the practice all of that runs through. It's set up for cultural institutions, archives and research groups, and for four things: research and mediation, concept development, writing, digital and audiovisual production. Some of it is artistic research and some of it is a client with a deadline. The work doesn't behave differently either way.

Since 2025 I've been a PhD candidate at the University of Amsterdam, working on how community-based audiovisual heritage can be artistically reinterpreted, with large language models in the co-creation and in the interface itself.