Vixxuals: Getting to Know the Artist

First and foremost, can you introduce yourself and tell us about your artistic background?

I am Francisco, my artistic name is Vixxuals. I used to be an architect in Argentina, and that was my first introduction to art, design, and related fields. But architecture can be difficult because of the constraints like budget, pressure, and expectations, which were not as satisfying as I thought they would be when I was younger. So I started painting with acrylic fluid, or acrylic pouring—very abstract. That was an exciting experience, and I learned it from an artist named Celine, who is a really talented artist.

But I felt the abstract style was too open-ended. I had ideas in my mind, and I wanted to express them more specifically. So I started using programs like After Effects to add movement to my paintings followed by a concept guided text.. I liked the results but not the process itself. Then, by chance, I discovered the techniques I use today that were popular in the 60s, particularly with rock bands. It involves using chemical reactions in a petri dish, along with analog tools like overhead projectors, to create visuals. I became obsessed with it. It’s been the only thing I've done for the past four or five years. It’s all about experimentation—like being a child again. You experiment until you get something amazing or, sometimes, nothing happens. Over time, I started to understand the intricacies of the process, and that’s when it became really fascinating.

‍Could you identify one or two milestones that have shaped your creative journey?

The first milestone was moving to Barcelona. Before that, I was more in my head, focused on philosophical thoughts and personal growth through discussion. But in Barcelona, I had to stay on my own and make things happen. I learned how to be more practical and hands-on, whether it was learning to skate, cook, or play instruments. It gave me a sense of limitless potential—that I could learn anything. That feeling translated to my art, and I’ve pursued it ever since.

The second milestone was when I discovered this particular kind of art. It was a chance encounter. A friend, Max Cooper, who is an amazing musician, stayed at my place for a month. We were in a creative mood, and I was painting while he was producing music. We experimented with acrylics on a plate. We thought we had discovered something new, but then we found a video on Instagram of someone doing a similar thing. It led me to Argentina, where I learned from a master Visual Brewer in this field, especially in liquid lights. After that, I never stopped.

Where do you find inspiration and what drives your art?

For me, the process of getting the idea is the most important part. Everything before that is just anxiety. Once the idea comes, everything else flows smoothly. I never know exactly what the result will be, but that’s what makes it exciting. I create the right environment for an idea to grow, which means balancing emotions and avoiding studio burnout. Emotional balance is key for me to create the best outcome.

‍

What makes your style unique, and how has it evolved over time?

I don’t think I’ve invented anything. It’s a lot of trial and error with different techniques and materials. The unique part of my work is that it’s all live—nothing can be repeated, even if I try. It’s always different, and that unpredictability is what makes it so interesting. The art depends on the moment, my mood, and the audience, so every experience is unique. You can’t standardize it. It is just a pure present.

How has the advancement of technology molded your creativity over the years? And what are your thoughts on how the ever-changing future can influence artists?

In my case, I’ve moved in the opposite direction. I started with more modern technology, using cameras and programs like Resolume, but now I’m more focused on analog techniques, like the overhead projectors and liquid lights from the 60s. There’s something about the way colors look in analog—much brighter and more real. Not even the most expensive camera can achieve the same effect digitally, so I’m torn between the two worlds. Technology is amazing, but it’s also expensive, which is something I’m grappling with.

What are you up to now? You mentioned you're heading to Croatia tomorrow—what are you doing there? And down the line, what’s next for you?

Yes, I’m going to Croatia for a psychedelic rock festival. It’s going to be fun because I’m teaming up with Sector 7G. They’re really talented and work with analog themes, which I love. We’ll be sleeping in tents near a waterfall for seven days, and we will be working on three stages, projecting visuals. I’m also doing techno parties here in Barcelona and was invited to create an installation in the entrance of Castell of Montjuic, working with Lucila Brubacher, a great designer. I loved to work with her, so much that we are now starting our own studio called The Ripple.

I’m really getting into the idea of projecting onto buildings and creating large-scale installations. I’ve done it on my own before, just setting up in parks and public spaces.. I think this is something I want to pursue more, getting bigger and bigger with it.

In your perspective and your experience, have you found there to be significance in having a collaborative attitude and networking among creatives? If so, how important is it to you to have a community in the art world?

Absolutely, collaboration and community are vital in the art world. However, it's a bit challenging for me personally. With social media, it's easier than ever to connect with people, but I struggle with my own insecurities—whether it’s reaching out to someone or responding when they contact me. Fortunately, I've been lucky to have many talented friends, particularly musicians like Max Cooper, The Hombre Invisible, Bioy, Martin Volpi, Joafan, Mardeformas and others I’ve grown up with in the creative scene. Collaborating with them on shows, rehearsals, and materializing ideas has shown me how essential community is. You need other artists around you to spark new ideas and keep pushing boundaries.

For me, all the doors in the creative process open when you're actively engaging with others. While I tend to stay in my comfort zone, surrounded by close friends, I know there’s incredible potential in expanding that network. Community is key—it’s how ideas grow and how projects take shape. That’s one of the reasons I admire what Muro is doing; it’s fostering a sense of community, bringing creatives together and expanding the possibilities for collaboration.

For example, in the LiquidLights Facebook group, the sense of community is incredible. It’s made up of people who use the same techniques I do, and some of the pioneers of the art form are part of that group. It’s like having Jimi Hendrix guiding you through guitar riffs—these experts are active and always sharing advice and knowledge. Without that group, I’d lose a lot of time trying to figure things out on my own, and I might even take risks that could be dangerous, given the materials we work with. Having that community is not just valuable—it’s essential.

‍