How Marcos Fernández transforms perception, nature, and abstraction into visual language for the future of digital culture
Over the last decade, digital audiovisual ceased to be just a technical resource to be consolidated as an autonomous cultural language. In this hybrid territory, where image, sound and perception meet, the work of Marcos Fernández, known as CATMAC, occupies a unique place.
With interrupted training in the Psychology of Perception, Fernández shifts scientific rigor to the sensitive field of visual art. His loops and animations explore a point of constant tension between realistic representation and pure abstraction, creating what he himself investigates as “moving landscapes”, images that evoke nature but refuse to fix form or territory.
The impact of CATMAC goes beyond the authorial circuit. By making most of his loops available as free material since 2012, the artist profoundly influenced a generation linked to clubbing, architectural videomapping, and performing arts. His work is not imposed as a closed signature, but as an expanding, appropriable and reconfigurable visual ecosystem.
His works operate as perceptual patterns. Waves, textures, and digital flows activate emotional responses that oscillate between recognition and strangeness. The spectator does not observe a landscape: he crosses it. In this gesture, CATMAC anticipates a central discussion of our time, as technology not only represents the world, but creates new ways of feeling it.
This work symbolizes a cultural shift: the image ceases to be static, the screen ceases to be limiting, and the audiovisual begins to operate as an expanded sensory experience. An essential vocabulary for understanding the future of art, architecture, and visual communication.
