Andrés Reisinger | Visual Artist & Designer

Argentinian artist Andrés Reisinger occupies a unique space in the contemporary art scene, a dynamic intersection of the digital and the physical. With two studios in Barcelona, Reisinger combines a recognisable dreamlike aesthetic with a clear artistic vision, acting as a link between worlds. His artistic journey encompasses works as diverse as the textured Hortensia chair, the viral AI-driven Take Over project, and the luminous monolithic Crystal residence, designed in collaboration with architect Alba de la Fuente. His work goes beyond the purely visual, exploring the possibilities and limits of the digital medium. Exemplifying the fusion of technology and art, he creates pieces that address the digital age while maintaining a connection to the tangible world. We had a conversation with Andrés about his work and production practice.

Who is Andrés Reisinger? Can you briefly tell us about yourself? How did your journey to becoming a globally recognised artist begin?

I was born in Buenos Aires, Argentina, in May 1990, and grew up there. From a very young age, I felt a deep-seated desire to create. While my friends were playing video games, I was captivated by the fantastical worlds they explored, yearning to craft those realms myself. My early experimentation with digital tools felt instinctive, like uncovering a natural affinity. Truly, it was an epiphany—a realization that the digital realm was a boundless playground where I could experiment and push the boundaries of my creativity. I kept on discovering a new dimension of possibilities where my ideas could flourish.

At the same time, I was training in classical music at the Conservatorio Nacional Superior de Música, which gave me a unique blend of rigorous discipline and creative expression that has been a guiding force in my art ever since. I initially pursued graphic design at the Faculty of Architecture, Design, and Urbanism at the University of Buenos Aires. But I quickly realized that traditional schooling wasn't the right fit for me. So I plunged into the world of digital art, securing commissions through a series of fortunate encounters. About eight years ago, I moved to Barcelona to open my first studio. In 2023, I relocated to Madrid, where I have now established my second studio.

You are known for your designs that bridge the digital and physical worlds. How did you start to explore the boundaries between these two worlds?

I believe that the convergence of the tangible and digital can foster true human interactions that extend beyond what we already know to be true. This synthesis will not only enrich our day to day experiences but also lay the foundation for a future where technology, recognized as a human tool, can enhance our connections across various spheres.

Take Over Jeddah & Take Over New York City

"I just followed my desire to unlock transformative possibilities for our present and future; everything in my work has always happened organically, by mere curiosity."

In my work I have always been driven more by the act of creation, and everything that happens within that process, than by the final output. So for example, my digital art, characterized by a hyper-realistic aesthetic, has always raised in the public questions about the temporal and spatial existence of the piece. At the same time, I’ve enjoyed sharing my creative journey since its very beginning on social media, which of course allows my art to touch many as well as making it available for scrutiny, questions and demand. If I take Hortensia, the public was not content with just its digital version - they wanted the physical one too. And, while it stemmed from a public demand and not necessarily my own desire, making the physical Hortensia enriched my creative journey, which has always been shaped by both my own vision and the engagement of the public who lives my art.

So, while there is always an intention behind a work of art, it is far more interesting to let that creation take its own course. This is also the case with Take Over, which started as a digital art project that turned into physical, public installations that have appeared in Miami, Jeddah, Madrid and New York. It is funny, neither with Take Over nor the Hortensia I set myself the goal of making them physical when I first created them. But I guess it was predestined that in my career I would work in that liminal space that exists between the digital and the physical. There exists a conversation, there exists a meeting point. My work is focused on experiences, whether they are in the physical or digital realms: understanding their differences, similarities and points of contact and friction is fascinating to me.

The Shipping Tangled & An Essay Before Meeting My Daughter

What does pushing the boundaries in the world of design and art mean to you? How do you expand your own boundaries?

I would give the same answer to both questions: remaining free and free of labels. My art wants to be free to become which is why I choose and work very hard for my practice to remain unclassifiable. The beauty of artistic expression lies in its fluidity and the ability to transcend traditional boundaries. It is a conscious decision to navigate the diverse landscapes of creativity without being confined by predetermined categories.

Why is pink so powerful for you?

It truly is a philosophical journey into the depths of the human essence and emotional resonance. Pink is a symbol that encapsulates layers of significance that are both personal and universally relatable.

Pink embodies warmth and evokes feelings of comfort and security, sensations which are deeply rooted and connect us to primal memories of safety—perhaps even within the womb. And this sense of comfort, pink can instill in a space or object.

At the same time, it is the internal color shared by all human bodies, in our internal organs, a common thread that binds us together. With pink, my intention is to underscore this shared human experience, fostering an unspoken sense of unity and belonging.

You have collaborated with well-known brands such as Dior. What was it like working with a fashion brand?

In general, I choose to partner with brands that respect and understand my creative essence. From the outset, our collaboration is rooted in valuing my creativity and inherently free creative spirit. I am very interested in fashion and in that sense it has been nothing short of inspirational and fun. We truly work together to develop new ideas, bold and uncharted territories. I have been incredibly lucky as all the collaborations I’ve done have all been so enriching. I’ve enjoyed every second of the process and I am proud of what we achieved together. I think it’s so important for major players like the ones I’ve collaborated with to take part into the conversation of digital art; through their support, they give a platform for the digital to perform.

Gris Dior

Which of your works has excited you the most in terms of the design process and the final product?

Undoubtedly Hortensia, in its digital and physical form and Take Over, as something that only began as a mere dream has managed to, quite literally, take over so many places, spaces, both in digital and physical terms, as well as creating a sense of community for those near and far. My series Pollen has also been an incredibly fascinating creation process, as I was experimenting with recombinant art.

Hortensia

Can you tell us a little bit about the sources of inspiration behind your work? Who are the names you follow with curiosity in this field or in different disciplines?

My inspiration comes from all that surrounds - from everyday life to high art. Whether it's art, fashion, literature, philosophy, spirituality, music, or architecture, I find creativity in it all. Philosophy and literature are important influences for me; I usually start my creative process with ideas and theories, letting them shape what I create. But above all, I'm fascinated by nature's intricate processes and constantly changing patterns.

Are you excited for the future? What are your plans?

I am always looking forward to what lies ahead but remain grounded in the present moment to truly experience it. Many changes and developments in my Barcelona and Madrid studios as well as big exhibitions happening in Europe…as always, I cannot say more than this at the moment.