In-visible Biometrics: Morphologies of the Ambiguous (Morphological Study Grid No. 1)

Single-channel video, black and white, silent, 03:39 min (Loop) "In-visible Biometrics" is an ongoing research series that explores the body as an ambiguous geography. "Morphological Study Grid No. 1" is the first iteration of this body of work, functioning not as a generative simulation, but as a manual dissection of truth. The piece presents a taxonomy of fabricated gestures derived from biological reality: the movement of human hands beneath a translucent textile. Through an obsessive editing process—mirroring, extraction, and montage—I have transformed real biometric traces into an archive of synthetic organs that breathe in an eternal loop. This work acts as a "biological mockumentary": while its aesthetic suggests the cold precision of an X-ray or algorithmic classification, its origin is purely human. I act as the algorithm, reconstructing reality to expose the fragility of our perception. The fixed grid layout is a deliberate choice to avoid cinematic distraction, focusing the viewer’s gaze on the subtle, pulsating variations of the morphological specimens. By presenting this system in a constant, unyielding framework, I force the viewer into a perceptive fracture, turning falsification into an act of care toward our own capacity to see and feel in the age of the synthetic. The research is further articulated through a series of Specimen Analyses (see additional material for high-definition details). These fragments function as poetic fakes that challenge clinical and biological evidence: gestures that operate as speculative neurological architectures, biological rhythms accelerated into microscopic nervous fibers, or physical pulses reconfigured into the simulation of breathing, synthetic lungs. These modules are not mere abstractions; they are the evidence of where reality begins to fracture, turning falsification into a tool for seeing the human trace more clearly. _ Arnaldo Drés González (b. 1986, Caracas) is a Hamburg-based visual artist and researcher investigating the persistence of biological data within contemporary mediation infrastructures. His practice operates at the intersection of physiology and software-based art, utilizing a rigorous methodology defined as "Morphologies of the Ambiguous." Through protocols of reconfiguration, González deconstructs biological micro-gestures—dissecting human kinetics into modular units—to transform them into speculative archives and synthetic systems. His work addresses the tension of post-geographic identity, where the body functions as an autonomous code within the fragmented infrastructures of the digital grid. By translating physiological traces into processual taxonomies, González challenges the standardizations of algorithmic vision, asserting the human pulse as an unpredictable and independent signal. This digital inquiry is deeply rooted in a physical dialogue with found materials and performative gestures, forming an integral part of his ongoing research into the nature of the simulacrum. González holds a BFA in Mixed Media from the National Experimental University of the Arts (Caracas, 2011) and an MFA from the University of Applied Sciences and Arts (Ottersberg, Germany, 2016). His recognitions include an Honorable Mention at the altonale17 Art Prize (Hamburg, 2015) and a Special Mention at the 19th Edition of the Villa de Leyva International Film Festival (Colombia, 2025). His digital works and moving images have been featured internationally at the WNDX Festival (Canada), Riga Performance Festival STARPTELPA (Latvia), TIVA (Albania), and the Museum of Contemporary Art of Caracas (Venezuela).