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Ernesto Salazar RodrĂ­guez

Ernesto Salazar RodrĂ­guez New media artist, University Teacher, Graphic Designer

Finlandia N36-177 Apt. B1 Quito, Ecuador

+593 995 618 017

Contents: Statement Portfolio with relevant selection of work Personal Data Studies Background Publications Experience

Ernesto Salazar RodrĂ­guez Quito, March 3rd. 1983

My work has maintained a path where I meditate on the formation of an individual and his identity, taking factors both internal and external to him. For this process, I have generated several approaches where I placed digital tools and communication services as the main resources of formation of the being. Thanks to my knowledge in graphic design and visual arts, I maintain a relationship of mutual contamination between these two, being evident in my work that it is mostly visual. However, I complement and enrich my production by rethinking the technology involved in my work, so that it surpasses its status as a tool to an indispensable signifier. My work reflects an apparent constant self-representation, however I feel it is effective to place myself in a situation of self-exploration and self-inquiry as a starting point, in order to understand more closely the affectations of other people. The selection of works presented are from my most recent project, to the first approaches that I consider, contribute with an insistent theme: The individual, their condition or enrichment through technology.

#body_writer (project in process)

#selfie_filter #graceful_flamingo

#body_writer is a project that takes the idea of a body that it's turning into a complex, virtual presence thanks to the ever improving technologies available and functioning thanks to it's constant (and now) permanent relationship with internet. Body_writer it's about queer bodies, which won't adapt to rigid social structures, their corresponding times and spaces, but instead finds on internet the availability to create or rewrite new ways of self awareness and enriched behaviours of time and space, to be able to be present in one or several places and defying that way, popular ideas about conditions only accomplished for sacred or divine beings. That way, I thought about myself as subject of investigation and as some sort of virtual performer. To start, I re_wrote (measured) my whole body in a long process of exploration and recognition (something that as a gay person around a complicated social sphere was difficult to understand) and re_built my body in a 3d modelling software. In that process, I tried to rethink and understand some popular terms used as hashtags like: #body_building #body_improvement #body_under_construction #body_denial #body_acceptance,

3d Face modeling process #body_writer. 2019 3d modeling

grabbing attention from people who use this terms, describing another situations in their social media posts. In the same way, I wanted to post myself (my virtual presence) imitating some popular situations or poses, seen on social media, but giving them a new significance. This is a first cut of this project. This images have been posted on my instagram account to begin my research, but this project it's thought to be a whole artistic installation that uses and resignifies


several digital devices as mobile phones, tablets, screens, projections, 3d printed objects and VR glasses. Making of the resulting images, dependant of such devices to properly manifest in the gallery or exhibiting space. This work finally deals with bodies that appropriated the virtual space to enrich themselves, to affirm themselves and to reinforce themselves discursively, so that their manifestation in society is undeniable. Bodies denied but in turn, utopian bodies.









Mar de despertantes (Sea of Wakers)

Graphic interafce concept Mar de despertantes. 2017 Android mobile devices app.

Mar de Despertantes is an artistic project where I place the Internet user and the information he provides as the main value. With this work, I deliver a virtual space where the user can meditate on the way he conceives his identity, his intimacy and his relationship with others in social networks, factors that finally intervene ubiquitously in his daily life due to a current condition of permanent connection to the internet through their cell phones.



acts as a wake-up alarm for mobile devices. Once the user has previously installed and configured their alarmš, they will wake up with it and will be asked to write a brief text of what they dreamed, along with their state of mind².



This information will be stored privately in a log as a dream journal³, but it will also be encrypted and sent to another user in an anonymous and random manner. This code will dictate the order, the set of sounds4 and colors5 that will constitute the scene of the receiver's wake-up alarm6. Icon/color by emotion



sending user Nostalgia

Soñé que tomaba de un vaso lleno de agua, una llave que sentía que necesitaba para cerrar la puerta y poder despertar


I dreamed that I took a key from a glass full of water, I felt I needed that key to see my grandmother again.





028378827 Fear

receiving user Rage



Links to sounds: ernst-salazar-rodriguez/ felicidad/s-87GB6 ernst-salazar-rodriguez/ 02-nostalgia/s-Hvve0 ernst-salazar-rodriguez/ tristeza/s-MDKPO ernst-salazar-rodriguez/ verguenza/s-pcm8S ernst-salazar-rodriguez/ temor/s-Sr02U ernst-salazar-rodriguez/ disgusto/s-3XYap


Scenes modified by the mood previously shared by the sending user

Each user will wake up and be awakened by another, conceiving their dreams as an intimate contribution, but without the need to know their explicit content, knowing how they feel through the recognition of their state of mind.

Wake up alarm scene modified by emotion "joy" Mar de despertantes. 2017 Android mobile devices app. 15

How do we think our identities, once they have been enabled to be altered thanks to the new media technologies? How do we understand our information as public or private? Are we willing to compromise the constitution of a closed and individual identity in order to experiment shared experience modes of subjectivity?

To download this project in an compatible, android device please visit: (Only Spanish version available for the moment)

Piedra-Papel-Tijeras (Rock-Paper-Scissors)

Composition Piedra-Papel-Tijeras. 2016 Videoglitch-instalation 18

This work is born from an exercise of the crossing of the languages: visual, sound and verbal intervened by the resource of the error induced in a digital file. For this process, I recorded myself in video manipulating the three objects that constitute the game "Rock-Paper-Scissors", where each object has the capacity to destroy and be destroyed by another, generating an apparent perfect balance of a cycle, until randomness intervenes when playing.

“piedra(rock)� Still Piedra-Papel-Tijeras. 2016 Videoglitch-instalation


I separated the resulting videos in each frame that constitutes them to obtain digital images to which I intervened through a text editor program, inserting several times the word that according to the game destroys the registered object. In this way I gathered the frames and got three new altered videos to which I finally exchanged their sounds in a way contrary to the one made with the text. That is, the image is destroyed by the word that wins the registered object, but the winning object is also contaminated by the object it destroyed, evidenced by the sound exchanged.

Instalation (detail) Piedra-Papel-Tijeras. 2016 Videoglitch-instalation

For the assembly of this work I also thought about the installation of a projection of this video as a triangle directed to the floor, where I placed three screens made with a mixture of materials that refer to the three objects of the game:

white sand, paper ans silver glitter. This is a loop video.


A perfect balance, altered by a hand •Video available at:

el sonido del viento me hace sentir que el suelo en el que estoy reposando se desvanece the sound of the wind makes me feel that the floor where I’m resting is vanishing

With the same resource of induced error, I elaborated this new piece. This time, the sentece that titles this work: “The sound of the wind makes me feel, that the floor where I’m resting is vanishing� is the one altering a short video that I recorded while I was lying, looking at the sky.

Stills El sonido del viento me hace sentir que el suelo en el que estoy reposando se desvanece. 2016 Videoglitch

I carried out this work with the intention of showing my lack of feeling correspondence to a society; despite recording this video with my body fully supported on the ground, I feel persistently unstable. I explore in a subtle way, how my sexual orientation and its consequent social questioning, conditioned my perception of the city, of places and spaces; of how I behave and I place myself in them (or I evade them).

Stills El sonido del viento me hace sentir que el suelo en el que estoy reposando se desvanece. 2016 Videoglitch


A phrase that destabilizes an environment and that in turn mutes it, generating uncertainty.

Still El sonido del viento me hace sentir que el suelo en el que estoy reposando se desvanece. 2016 Videoglitch

Placement El sonido del viento me hace sentir que el suelo en el que estoy reposando se desvanece. Centro de Arte Contemporรกneo, Quito. 2016 Videoglitch

โ€ขVideo available in:



fauna 6 Fauna. 2015 vector file

Fauna is an intimate project, it was born when I moved to live in a distant city. The figures in Fauna are interpretations of those small objects that one sees when closing his eyes and when the eyelids are arranged as a pink flesh background. I wanted to try like this, how we try to find familiarity in everything we perceive, especially in new places where everything seems unknown. That familiarization as an indispensable adaptation strategy.


fauna 1 Fauna. 2015 vector file


Close your eyes to avoid fear of something new, an evasion where I only trust the imaginary figures that live on my eyelids.


Open my eyes again to see that in these unknown places, there are remnants of those figures and therefore, the places become familiar.

fauna 5 Fauna. 2015 vector file

Versiรณn Plausible Plausible version

X (detail)

Versiรณn Plausible. 2013 vector file

G Versiรณn Plausible. 2013 vector file As a continuation of the concerns examined on FOB!A, I explored the lives of several of my loved ones through their Facebook page, evoking as a main force no longer fear, but their intention to present themselves through their social profile. I took several profile photos of each one and took their facial features as basic shapes to rebuild with them a version of their portrait, insisting on the idea of man-computer parallelism and also of the symmetric rigidity that the vector generation program offers, getting in this way "perfect" versions of the selected people.


How we use social networks to generate ideal versions of ourselves.

i Versiรณn Plausible. 2013 vector file




Versiรณn Plausible. 2013 vector file

What we decided to show or hide in our digital version.


How these web pages begin to form another home, intervening in the constant formation of our identity.





A Versiรณn Plausible. 2013 vector file



M22 (detail)

FOB!A. 2012 vector file

FOB!A is a series of 39 vector pieces where I explore fear as the main force of creation and, in turn, of identity formation. In this work I considered the computer as the only resource of work, seen from its constitution in hardware and software, to understand it as a symbolic parallelism with the body and mind constitution. For this process I proposed several work sessions, where I was previously induced to situations that generated fear, and then I used that force in the construction of the images that would result from my state of mind. Finally and as a relief of these sessions, I wrote short texts that accompany each piece.

M34 FOB!A. 2012 vector file


How fear molds identity and consequently, how it manifests itself in the body.

M31-32-33 FOB!A. 2012 vector file 43

Mind symbolized as software and body as hardware in a relationship: man – computer.

Fear as force.

M18 (detail)

FOB!A. 2012 vector file


Images digitally created so immaterial and in turn, as present as ideas. Finally, the text as a relief to this type of harsh tasks:



Her hair flows into threads that pass stealthily for each of my joints. Â Little by little they roll in my throat, squeeze my lacrimals and they distill sweat from my hands. They contract the muscles of my legs. I feel suffocatingly illuminated. I turn to the image and likeness of Phobos.



FOB!A. 2012 vector file




FOB!A. 2012 vector file


Technician in Graphic Design, Universidad Tecnológica Equinoccial, 2000 – 2002. Quito, Ecuador Sufficiency in English, Escuela Politécnica del Ecuador, 2005 – 2006. Quito, Ecuador. Background: Festival Circuitos Integrados, Ojos de Videotape, Participant artist, Espacio Belgrado, Buenos Aires - Argentina, 2018.

Personal Data: Ernesto Eduardo Salazar Rodríguez (3rnst) Passport.: 1718433129 Adress: Finlandia N36-177, Quito. Phone(mobile): 09 9561 8017 Place and birthdate: Quito, Ecuador. March 3, 1983 e-mail: Studies: MFA in Combined Artistic Languages, Universidad Nacional de las Artes, 2018. Buenos Aires, Argentina Degree in Visual Arts, Pontificia Universidad Católica del Ecuador, 2007 – 2011. Quito, Ecuador

Conversatorio Constelaciones, Participant artist, Auditiorio PUCE. December, 2017. Muestra Constelaciones, Participant artist, Work: Piedra-Papel-Tijeras, Centro Cultural PUCE. December, 2017. Muestra Soy Paisaje, Guided visit (host), Centro de Arte Contemporáneo de Quito. September, 2017. Residencias Nolugar, Portfolio showcase, No Lugar, Quito. September, 2017. Exhibición Soy Paisaje, Participant artist, Work: El sonido del viento me hace sentir que el suelo en el que reposo se desvanece, Centro del Arte Contemporáneo de Quito. September, 2017. CERO 2017, Speaker: La tecnología como herramienta para operar el cruce de lenguajes, Universidad Central del Ecuador. July, 2017. Laboratorio Gráfica Aurora. June 2017

desviante, participant, No-Lugar-Edicoes

Primer Festival Circuitos Integrados, Production and design, Red Artistas Integrados, Casa Belgrado. April -July 2016, Buenos Aires. Rutas, Participant artist, Fauna, Carrera de Artes Visuales PUCE, Arte


Actual FLACSO. Ecuador, 2015. Homeostasis lab 2015, Participant artist: Piedra, papel o tijeras, The Wrong, Internet. 2015. Exposiciones en Espacio Público, Visual concept, Fundación Museos de la Ciudad. Ecuador, 2014. Campaña Cuéntame tu Quito, Graphic design and creativity, Fundación Museos de la Ciudad, Ecuador, 2014. Pokedex.Ec, Participant artist: Pidgeotto, Proyecto Pokedex. Internet, 2014. Quito 360, Quito illustrations, Fundación Museos de la Ciudad. Ecuador, 2014. The Wrong New Digital Art Biennale, Participant artist, Several works, The Wrong. Global, 2013. Hay tantas cosas que quiero decirte, Participant artist: FOB!A (selección), No Lugar. Ecuador 2013. .GIF, Participant artist: Lubricante, No Lugar. Ecuador, 2013. Everness, Participant artist: Versión Plausible, Alianza Francesa. Ecuador, 2013. FOB!A, SOLO SHOW, El Conteiner. Agosto, 2012, Quito. Ilustres Ilustradores II, Participant artist: i, Centro de Arte Contemporáneo de Quito. Ecuador, 2012. Domicilio, Participant artist: Dioses Personales, Ministerio de Cultura. Ecuador, 2012. Avianca en Revista: especial Diciembre, Illustration, Avianca, Colombia, 2011.


Andamio 15 Años CAV, Participant artist: Serie 15m, Centro Cultural Metropolitano. Ecuador, 2011. Ilustres Ilustradores, Participant artist: M34, Centro Cultural Metropolitano. Ecuador, 2011. IKAS Art 2011, Participant artist: Dioses Personales, Carrera de Artes Visuales PUCE. Bilbao – España, 2011. Trimarchi 2011, Participant artist, Ilustradores Ecuatorianos. Mar del Plata – Argentina, 2011. Ilustradores en el Ring, Participant artist, No Lugar – Ilustradores Ecuatorianos. Ecuador, 2011. X Festival Arte en la Calle, Participant artist, Parque El Ejido. Ecuador, 2011. San Violentin, Participant artist: Espejo, Grafitat, La Naranjilla Mecánica. Ecuador, 2011. De Vuelta a la Jungla, Participant artist, Colectivo Intromisión, Trolebus. Ecuador, 2011. Pirañas en el Amazonas, Participant artist, Colectivo Intromisión, Av. Amazonas. Ecuador, 2011. Quitu Raymi, Participant artist, Ministerio de Cultura. Ecuador, 2011. Mnemosyne, Participant artist: Dioses Personales, Carrera de Artes Visuales PUCE, Asociación Humboldt. Ecuador 2011. Documental “El Corazón”, Postproduction, Artist Alfredo Breilh. Ecuador, 2010. Salón de lo Incómodo – Cuenca, Participant artist: Delirios Cotidianos. Ecuador, 2009. Salón de lo Incómodo – Quito, Participant artist: Delirios Cotidianos, Palacio de Cristal Itchimbia. Ecuador, 2009.

Desdoblaje, Participant artist: Serpientes, La Naranjilla Mecánica. Ecuador, 2009. Publications: Febrero 2018, Ernesto Salazar Rodríguez / El Arte Manifestado En Vectores - Interview, Haremos historia - Universidad del Azuay Noviembre 2013, Interview to 3rnst, Francisco Galárraga, Ilustradores Ecuatorianos June 2012, Ilustres Ilustradores II, Municipio de Quito, Secretaría de Cultura de Quito p.82 May 2011, Ilustres Ilustradores, Municipio de Quito, Secretaría de Cultura de Quito, p.22 April 2011,Ilustración y dibujo de Ernesto Salazar Rodríguez, Recomendados Colectivo Bicicleta, Colectivo Bicicleta February 2011,Illustrativo, Illustrativo

Diciembre 2012, Pabellón Ecuador, IKAS Art, Catálogo IKAS art 2011

March 2010, Arte: 3rnst, Ricky Cohete, Dexter Magazine p.75 p.269


Abril 2012, 3rnst Salazar-Ecuador, Jefferson Celebertti, Freelance Magazine No.5 Surreal

- Tegalli: Marketing, Graphic Design. 2003 p.42 Enero 2012, 3rnst: El Atractivo del vector, Lorena Reyes, AnormalMag Chile Agosto 2011, Designkinky, Semipermanent 2011 2nd. Edition, p.30. Agosto 2011,3rnst Salazar, The science of design

- Bengala Publicidad: Graphic Design. 2003 - 2004 - Alex Lunch Service Catering: Graphic Design, administration. 2004-2008 - Alex Lunch Service: Image Update. 2008 - Salón de lo Incomodo: T-shirt design. 2009 - Youth Pilgrims: Web image. 2009 - Casa Abierta Artes Visuales FADA PUCE: Image and diffusion.


2010 - FADA-PUCE: Edition: Documental Salida de Campo Sigchos y Actividades del Sexto Nivel. 2010 - Promotional Video Eurocine 2010, Gonzalo Vargas: Edition colab. 2010 - Documentary “El Corazón”, Alfredo Breilh: Post Production and Audio Arrangements. 2010

- Essay book Cartas de mujeres, Centro de Arte Contemporáneo de Quito: Design and layout. 2012 - Cartas Públicas de mujeres Ecuatorianas, FLACSO - Ana María Goetschel: Design and layout. 2012-2013 - No Lugar: Catalogue: 3 años. 2013

- Documentary “El Corazón”, Alfredo Breilh: Image, Invitations for the launch of the documentary. 2010

- PREMIO BRASIL, Brasil embassy - Centro de Arte Contemporáneo: Design and layout. 2013-2014

- Colectivo Intromisión: Promotional material and image. 2010

- Campaña Cuéntame tu Quito - Fundación Museos de la Ciudad: Graphic designer and creative. 2014

- Hidden World, turismo de cuevas: Promotional material and image. 2010 - FADA PUCE: Cover: Colección Videoarte, laboratorio de fotografía y edición digital. 2010


- Project: El Auténtico libro de Las Huecas, La Selecta: Draphic design, layout and illustration. 2012-2013

- Fundación Museos de la Ciudad: Visual Concept visual of large scale public exhibitions. 2014 - Parque Urbano Cumandá: Image and signage. 2013 - 2014

- Exposición Mnemosyne Poster. 2011

-Fundación Museos de la Ciudad: Creative and Illustraror. 2014

- San Juan de Dios project, Gonzalo Vargas: Colaboration with Illustrations. 2010

- Ministerio de Cultura: Imagen y Afiche para encuentro Estrategias en uso. 2015

- Aanme (Asociación Archivo Nuevos Medios Ecuador), Gonzalo Vargas and María Belén Moncayo: digital processing of video files, online. 2011

- Informe de estado de Conservación, Instituto Metropolitano de Patrimonio: Design and layout. 2017

- Alexlunch: Image y promotion. 2011

- Imaginando el Territorio, Ministerio de Relaciones Exteriores: Image and Museum arrangement. 2016

- Avianca en Revista Colombia - Especial Diciembre: Illustrations. 2011

- Festival Circuitos Integrados, Universidad Nacional de las Artes, Buenos Aires, Argentina: Image and event management. 2016

- Cartas de Mujeres/Historias Únicas, Centro de Arte Conteporáneo de Quito: Design and catalogue - Memoria. 2012

- Going to Travel: Image and design. 2017 -2018

- Mi vida con el TOC, Sindicato Audiovisual: Image and web design. 2017 - Organidor, Oliva Quezada: Web illustrations. 2018 - Comer-te Quiero: Community management, design, image. 2018 - Informe de estado de conservaciรณn, Instituto Metropolitano de Patrimonio: Design and layout. 2018 - Horizontes Errantes - Centro de Arte Contemporรกneo de Quito, image design, exhibition material, 2018. -Pontificia Universidad Catรณlica del Ecuador: Teacher in visual arts, September 2018 - January 2019. Design portfolio

Ernesto Salazar Rodríguez - Portfolio 2019