Rafael Parratoro, known as PARRATORO, is an Argentine-Venezuelan artist (Caracas, 1977) whose work stands out in the fields of kinetic and optical art, pioneering the integration of augmented reality and 3D technology into fine art.
PARRATORO’s artistic practice merges digital and physical mediums, creating interactive and dynamic pieces that invite viewers to engage directly with movement, geometry, and light. Educated in hydraulic engineering at the Central University of Venezuela, he combines mathematical precision with aesthetic experimentation to explore perception and form.
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His artworks have been exhibited internationally including in Argentina, Chile, Mexico, the United States, Germany, China, and Italy and are recognized for his unique mastery of the moiré technique. Unlike other kinetic artists, PARRATORO is the only artist to create defined geometric forms solely through the moiré effect itself, using the interference patterns not merely as texture or illusion, but as a drawing tool that gives structure and meaning to the image.
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Major Projects and Collaborations
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Google Maps Platform Awards (2025), Google commissioned PARRATORO to design and create the Google Maps Platform Awards, a series of sculptural trophies that fuse kinetic abstraction, resin, and light. The project bridged art and technology to celebrate innovation on a global scale.
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POP AR (2025). His interactive art book POP AR merges printed geometry with augmented reality, allowing each artwork to float in real space when viewed through a phone. Successfully funded on Kickstarter, where it received the “Project We Love” badge, it is now distributed in 20 countries.
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Mapping Intervention on the Obelisk of Buenos Aires. A large-scale projection commemorating the 30th anniversary of the Garrahan Hospital, transforming the city’s most iconic monument into a kinetic experience.
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Lollapalooza Argentina. A series of installations blending sound, light, and optical illusion, expanding kinetic art into the realm of live cultural experience.
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US Embassy Mapping LGBT Week at Palacio Bosch. A work exploring inclusion and dialogue through kinetic visual symbolism.
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Exhibition at FOLA, Buenos Aires. Sonata de Cruces Posibles integrated augmented reality into photography, blurring the boundary between static image and motion.
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Kinetic Watch for Dedegumo Kyoto. A handcrafted kinetic timepiece designed in collaboration with the Japanese brand Dedegumo, merging art, engineering, and precision design.
EXHIBITIONS
Solo Shows
Group Shows
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“Obra Expandida”. Museo MARCO La Boca. 2025
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“El Aire Como Soporte”. Artlab. 2025
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Movistar Arena (Movistar AR Mural). 2024
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Plástica Digital, Artlab. 2023
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"Premios Gardel 2023" Complete art concept, Movistar Arena, 2023
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“El Tercer Pasajero”, ESEADE, 2022
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DAM, Centro Cultural Plaza Castelli. 2022
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Tres Punto Cero, Cott Gallery, Buenos Aires, 2022
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LOLLAPALOOZA Argentina 2022. Intervención
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Fachada Tiendas LANDMARK, Buenos Aires, 2022
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Renault NFTs, Usina del Arte, Buenos Aires, 2022
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“Somos Love” Videoclip de Vicky Maurette, Buenos Aires, 2020
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Live Performance, Museo de Arte Contemporáneo de la Boca, 2019
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Imaginable, Posible, Öss Café Buenos Aires, 2019
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1 es a 1, Ciudad de Los Andes, Chile, 2019
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RAFAEL PARRATORO, HOTEL MARRIOT W, Ciudad de México, 2019
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ARTE EN MOVIMIENTO. Galería Adriana Budich, Buenos Aires, 2018
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1ESA1 Biblioteca VIVA. Santiago de Chile. Curaduría Macarena Cacciuttolo.
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Mapping del Obelisco, Ciudad de Buenos Aires (30 Años del Hospital Garrahan)
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1ESA1 (Solo Exhibition) Espacio O. Santiago de Chile. Curaduría Macarena Cacciuttolo 2017.
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ARCOBALENO (Apertura Atelier) Atelier ParraToro. Curaduría (Tiburón Negro) 2016.
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LA EVOLUCIÓN DE LA FORMA (Solo Exhibition). Centro Cultural Borges - Fundación Tres Pinos. Curaduría: Massimo Scaringella. Buenos Aires, Argentina. 2016.
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MOIRÉPH (Solo Exhibition). Centro Cultural Borges - Fundación Tres Pinos. Curaduría Massimo Scaringella. Buenos Aires, Argentina. 2015.



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Nike AR Swoosh. Galerías Pacífico, Buenos Aires. 2024
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Resquicio Cuántico, Museo Campo Cañuelas. 2024
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US Embassy: LGBT Week, Palacio Bosch, Buenos Aires, 2023.
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Museo Della Luce, Permanent Collection, Rome, Italy. 2023
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Favaloro x 100 pre, MALBA Museum, 2023
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X-Universe AR, La Nuit de la Culture, Esch-Sur-Alzette, Luxembourg
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BIG-X, Belval Plaza, Luxembourg
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La Nuit de la Culture "X-Universe", Esch-Sur-Alzette, Luxembourg
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Feria MAPA 2023 (Cott Gallery), Buenos Aires
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LABITCONF, Buenos Aires, 2022
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Festival Ciudad Emergente, Buenos Aires, 2022
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Bitcoin Fair, Carnaval Art, Miami USA, 2022
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World Padel Tour, Buenos Aires, 2021
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“Sonata de Cruces Posibles”, FOLA, Buenos Aires, 2021
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NFT Art Week,Beijing, China, 2021
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Diderot American Express Performance, Buenos Aires, 2020
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Diderot Digital Exhibition, Metaverso, 2020
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Digital Pandemic Collabs con R.R.A.A.- y Tano Verón, 2020
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III Acto Cultural Festival Migrante, Buenos Aires, 2019
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OPENING, Wosco Art Gallery, 2019
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Feria MAPA Espacio O, Buenos Aires, 2019
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LA RUTA DEL COLOR Aura Galerías, Ciudad de México 2018
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PLANCK FESTIVAL Digital Art Festival. Buenos Aires, Argentina 2016
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NEI LUOGHI DELLA BELLEZZA Cittá di Noto, Santa Caterina. Italy, 2016
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NI UNA MENOS . Articiclo. Buenos Aires, Argentina 2016
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IL PRIMATO DELLO SGUARDO Comune di Messina. Italy, 2016
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UPFRONT. Miami, FL. 2016
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PREMIUM (Art Basel Miami Season 2015). Miami, FL. 2015-2016
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MEMORY Schwerdter Strasse, Berlín, Germany. 2015
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THE SOFTLINE. Miami, FL. 2015
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(RE)VISION) 1199 First Avenue, New York, USA. 2014
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THINGS OF BEAUTY. Miami, FL. 2014
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MIAMI-MIAMI. Miami, FL. 2014
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BEAUTIFIED OBJECTS. Miami, FL. 2014
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CONCEPTS (Art Basel Season 2014). Miami, FL. 2014
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FONZO. Miami, FL. 2014
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PICTOPLASMA (PORTRAITS & SELFIES), Museo MARCO de Monterrey, Mexico. 2014
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PICTOPLASMA ACADEMY GROUP SHOW Urban Spree, Berlín, Germany. 2014
ARTIST STATEMENT
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I work with perception as a material because in the age of screens, seeing is no longer a neutral act. Images arrive pre-processed, optimized for speed, and increasingly shaped by invisible systems: cameras, compression, interfaces, algorithms. My practice treats the image not as a surface to consume, but as an event that happens physically, temporally, and politically—when a body negotiates with a device of vision.
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I build optical and kinetic situations where motion is not a spectacle but a consequence of looking. Geometric structures, moiré interference, reflective planes, and digital layers operate as instruments that destabilize certainty. The work refuses a single, stable viewpoint: it requires the viewer to move, to hesitate, to recalibrate. In that demand, perception becomes accountable again—less passive, more conscious, more self-aware.
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Technology in my work is not an add-on or a novelty effect. When I use digital processes or augmented reality, it is to foreground mediation: to make visible how reality is translated, how information is extracted, how nature becomes interface, how the act of scanning can replace the act of understanding. These tensions between science and nature, wonder and control, play and power—are not illustrated as themes; they are embedded as experience.
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Ultimately, I’m interested in building “portals” for re-learning how to see: spaces where the gaze slows down, where attention becomes intentional, and where the viewer regains authorship over the visible. If the contemporary world is defined by image overload, my work proposes a different contract, one in which looking is an active form of thought.













