Hadaly Villasclaras

Bouquet v2.0 (2025) is the continuation of Bouquet v1.0 (2025). They are generative software based artworks that delve into the nature of digital entities by exposing their data infrastructures. Through the browser, a generative 3D model is exposed along with the data clusters involved in its own rendering, overlaid as a visible informational layer.

More info here

I participated as a tech mentor at the 1st Feminist Hackathon organized by Yes We Tech , held at the Google Safety Engineering Center in Málaga. I guided interdisciplinary teams composed mainly of participants from engineering, programming, UX/UI design, product, and communication backgrounds.

Throughout the event, I supported the groups in shaping the technical and conceptual direction of their projects—evaluating feasibility, structuring workflow, and translating initial ideas into clear and presentable solutions. The hackathon focused on developing initiatives aimed at reducing the gender gap in the tech sector, and my role was to provide strategic guidance, facilitate decision-making, and promote effective collaboration within each team.

Development of an interactive application for Younexa Showroom.

It involved:

• — Full-stack development
• — Interactive UI
• —️ 3D models integration
• — Implementation of a real-time human detection system using Machine Learning to change screens and trigger animations.

Stack: Slim, ts, sass, three.js, coco-ssd model.

The initiative focused on developing a web ontology and semantic model specifically designed for the domain of art exhibitions and the cultural sector. I collaborated with research groups from the Art History and Computer Engineering faculties, contributing to the conceptual and semantic modeling of entities and their relationships, as well as field research and data structuring processes.

My role involved supporting the design of the ontology’s architecture and ensuring its alignment with the domain’s conceptual frameworks. This included translating curatorial and institutional knowledge into structured, machine-readable formats, facilitating interoperability and knowledge representation within cultural heritage contexts. I worked with semantic web technologies such as OWL, RDF, and metadata standards to build and refine the model collaboratively.

I was responsible for both the web development and art direction of the film Cyborg Generation website by director Miguel Morillo, creating a digital space that mirrors the film’s atmosphere—cold, technological, raw, and deeply human. The design and interface were conceived to translate the conceptual language of the film into an immersive online experience.

Now it's part of Miguel Morillo website

Una Imagen Bot is a generative software to create text-based images.

It was conceived as a tool to explore one’s own visual landscape within a digital environment increasingly shaped by hyper-produced imagery and algorithmic logics that dictate what is or isn’t seen.

Una Imagen Bot operates as an exercise in counter-imagination, opening space for thinking new ways of representing the real.

More info in www.unaimagenbot.com

Once activated, the program runs autonomously and can take different forms depending on the context.

Between 2020 and 2023, it powered a Twitter bot that posted these image proposals on a regular basis. The bot stopped operating after the platform became X.

In 2021, the project was featured at Loom Festival through a social media intervention. The text-based generated images were shared through stories as a gesture of returning agency over visual production to users through their own imaginaries.

My work was featured in A Decade to Download. The Internet Yami-Ichi 2012–21 (A Decade to Download Project, 2022), a limited-edition publication of 100 copies created with the concept of “downloading” the 10-year history of Internet Yami-Ichi into a book. The project was led by IDPW, founded by the artist duo e​x​o​n​e​m​o.

I was included in the book thanks to my participation in the 2020 edition of Yami-Ichi: tianguis de intercambios digitales at Centro de Cultura Digital in Mexico City, curated by D​o​r​e​e​n R​í​os and C​a​n​e​k Z​a​p​a​t​a. My works No más imágenes, Facts, and Mystery canvas box were part of Zona Hipermedial, an experimental online exhibition platform that extended the event into a digital curatorial space.

NeoFantasy Tales (Fragmentary sketch for a stage) was realized in May-June 2020 as part of the offsite group exhibition “Everything must be render perfectly”, hosted by solo show online.

The works that constitute the project have been created with canvas scraps and other recycled materials from previous works due to the conditions of isolation and labor and economic precariousness suffered during the viral pandemic of 2020.

Their only destiny is to exist as images.

100% REAL explores the tension between the image and the medium that supports it, interrogating the material structure that allow some- thing to be visible and legitimized as “real”.

The painting, as a device of representation, is staged, revealing its material condition as it turns on itself. This gesture attempts to shift attention from the motif represented to the medium itself, showing that what is declared as real is always a mediated construction.

Exhibited at "Cómo aprender a dejar de pintar"[How to learn to quit painting] (Curated by E​l​a​​d​i​o A​gu​i​l​e​​r​a). Sala Subsol, CC Bellvitge-Gornal, Barcelona (2020).

I lost a picture I had saved is a project about wanting and not wanting to be seen. The common threat in these artworks is an absent image, recreated with different pieces taking the form of furniture and other objects found in a domestic sphere -or camouflaged among them-. These elements help to dramatize the room to simulate a space of privacy, creating a fictitious setting where the viewer is involved to follow a narrative threat about the mystery of this non-visible picture. This way, the project focuses on the illusion of privacy in the domestic space and on the contradictions found when proposing ways to escape the regime of visibility we live in.

Under this pretext, the artworks have been created by using different visual strategies in order to negate the image; trolling different devices of representation or presentation thereof; and creating allegorical motifs about the condition of the access to the visible and the overexposure from which the contemporary subject is affected. The painting, and more specifically, the painting-object, has been the driving force of the entire project. It has been approached not only through its visual possibilities –turning the canvas into curtains, a tablecloth or flowers petals–, but also attending to its rhetorical and intertextual codes; appealing to the historical notion of the painting as a window and linking it to other formats and strategies of traditional conceptual art and memes –such as self-reference and surreal humour–.

It was exhibited in Factoria de Arte y Desarrollo (Madrid, 2020)

☆ PRESS ☆

I lost a picture I had saved has been featured in:

• Tzvetnik
• [ANTI]MATERIA
• Daily Lazy
• AQNB

Before Victory / / Before Defeat are two large-scale canvases installed with a measured distance between them. A suspended temporality unfolds in the space they frame, placing the viewer in a state of active waiting, held just before an undefined event.

This intermediate space concentrates a latent tension, where time thickens and the potential of what is to come remains contained, unresolved.