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b. 1958, Maracaibo.
Lives and works in Houston US & Versailles. France.

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Pedro Morales is a pioneer of digital art in Venezuela. “La Mirada”, (The Gaze), ca. 1989, is one of the first works of digital art documented in the region, pushing the aesthetic limits of what was starting to be known as “virtual reality”.
Morales was honored with the Research in the Arts Award at Salón Arturo Michelena in 1991, arguably Venezuela’s most prestigious art competition. His work has been in individual exhibits at the Sofia Imber Museum of Contemporary Art and the Alejandro Otero Muesum, both in Caracas; In 1994 received the FAMA Award, granted by the Polar Foundation Fund for The Arts; and the Grand Prize in the 20th Salon de Aragua, another national prestigious meet (1995). He has participated in Prix Ars Electronica in Linz, Austria (2002, 2005).
Morales represented Venezuela in the 50th Venice Biennale exhibition “The Dictatorship of the Viewer” (2003) with an iconic work “City Rooms”, censored by the government of his country. It was however viewed (navigated) by thousands of people online. “City Rooms” is a high point in his career and a landmark for Venezuelan early XXI Century art.
For more than two decades Morales’ research on the beauty inherent in geometric shapes has maintained an intimate focus, using everyday household items and events as background for his digital work. He turns to fractal geometry to show his mosaics, the home he means to portray, exploring the beauty of geometric forms created with an utilitarian purpose.
Pedro Morales has explored his vision of the picture within the picture using stereography. His solo exhibit “Bordados Porno” (Porn Embroideries, 2007) was the result of years of research to approach tri-dimensionality on the plane using geometric shapes. Bi-dimensional codes, whose geometry respond to instructions, have been dismembered and reassembled with paper and leather flowers and pieces of plastic or raffia by Morales since 2007. Morales experiments with new materials and techniques, using elements produced by 3D printers, opensource handmade printers assembled by the artist himself. Given the very nature of the Bidimensional codes, the exploration of their beauty also meant that they were able to recognize technology and carry messages, regardless of the scale of the work. This provides an intimate and very personal connection with the spectator, made possible by their geometric design and access to technology. .
Morales participated in the Shanghai Art Expo in China, during the 2010 World Fair, and has shown his work in collective and solo shows in Bogota, Lima, Miami, Madrid and Paris. His solo show “De redes y Cadenas” ( on networks and Cadenas), Caracas, 2011 (D’Museo Gallery) is an artistic statement of the particular 21st century phenomena known as “pan-communication”: Everything and everyone bearing contents and meanings in all combinations possible. Geometric codes made with feathers and 3D elements were then a new way to read Venezuelan laureate poet Rafael Cadenas, without sacrifice of the aesthetic engagement.
Three years later, he showed his stereographic work in Paris and Rouen in the solo shows “Manuel de Civilité pour les Petites Filles” (Maelle Gallery, Paris) and “Erotic embroideries” (Space Mezcla. Rouen, France). He Moved to Houston in 2015 and In 2017 participated at the Biennial: Origins in Geometry at The Museum of Geometric and MADI Art. Dallas.