Andrés Reisinger is an artist and designer blending functions with illusion, exploring how digital objects mirror contemporary culture. In this interview, the artist unveils his views on AI and digital tools as collaborators, merging the virtual with the tangible.
Born in Buenos Aires, in 1990, Andrés Reisinger has made his way as an artist and designer dissolving the boundaries between function and illusion, and transforming digital objects into reflections on technology and contemporary culture. His pieces – such as Pollen, The Shipping, and the Hortensia Chair, now part of the Vitra Museum collection – challenge the commodification of the digital realm, offering spaces that feel both familiar and otherworldly. By crafting digital environments that evoke tactile responses, he invites viewers to question the constructed nature of reality and the ways our identities and desires are shaped by digital culture.
Reisinger’s exhibitions, including Too Much, Too Soon! at Nilufar Gallery, Let’s Get Digital! at Palazzo Strozzi, and DREAMS at Moco Museum (on view until July 7th 2025), have captured a growing cultural appetite for art that blurs the line between the virtual and physical. His work is a response to – and a reimagining of – a world in which digital culture is an integral part of our lives, influencing how we see ourselves and our surroundings. In DREAMS, for instance, Reisinger uses immersive installations to bring together the digital and material, crafting surreal yet inviting landscapes that seem to bridge alternate realities.
We had the pleasure to have a conversation with Reisinger on how his art confronts the outdated dichotomy between the physical and virtual, embracing digital tools like AI and immersive technology as collaborators in creation, not as replacements for human vision. His approach challenges viewers to view these realms not as opposites, but as complementary dimensions of experience. For Reisinger, virtual environments are not substitutes but extensions that can deepen our understanding of reality. His work addresses society’s need to categorize the virtual and real as separate spaces, suggesting this instinct may stem from a deeper urge to preserve familiarity and maintain control over an evolving reality.
Which are the practices, in your opinion, that could lead to overcome the dichotomy between physical and virtual, so deeply rooted in our culture?
In my view, this division between physical and virtual is less a reality and more a construct we’ve inherited. Overcoming this dichotomy requires us to shift our perspective and embrace the fact that both worlds are intrinsically linked. For me, creativity thrives in the space where these realms intersect. When we approach the virtual not as an alternative to the physical, but as a complementary extension of it, we begin to see new possibilities. In my own work, I explore how technology can enhance, rather than replace, our material reality. Digital tools, AI, and immersive environments are not separate from human creativity but intertwined with it. When we work with technology as a collaborator rather than just a tool, we start to dissolve the boundaries.
I think we also need to rethink our cultural perceptions: as we integrate the digital into every facet of our lives, the way we understand reality is evolving. Younger generations already perceive these boundaries differently, having grown up in a world where both the physical and virtual coexist. My role as artist and designer is to challenge outdated paradigms and offer new ways of seeing and experiencing the world. It’s not about choosing one over the other, but about finding beauty and meaning in the interplay between them.
Why do so many people still need to perceive virtual and real as two opposite entities? Do you think it conceals an unconscious need to establish boundaries between us and otherness?
The tendency to view the virtual and real as opposites likely comes from our natural human instinct to categorize and define the world around us, we need to draw boundaries between the known and the unknown, between what feels familiar and what feels foreign. The virtual space, being relatively new and often intangible, can feel like an ‘other’ that challenges our sense of reality. This instinct to separate the two might be a way of maintaining control over our understanding of the world—defining what is real, what is safe, what is human. I also think it touches on a deeper fear of losing ourselves in the unfamiliar. This need for boundaries can also reflect an unconscious desire to protect the physicality of human experience—our senses, our interactions, our sense of being rooted in the tangible world. The virtual realm challenges that in ways that feel disorienting. But I believe that as we become more accustomed to these new spaces, this division will start to dissolve. We’ll realize that virtual experiences aren’t negating the physical, but offering a new layer of reality that can enrich our understanding of both self and others. The boundary between ‘us’ and ‘otherness’ is not being erased, but redefined—allowing us to engage with the unknown in more intimate and transformative ways.
How do you personally manage to bring digital design into the real world and vice versa, and why is that so important?
Bringing digital design into the real world is a fundamental aspect of my creative process. In my latest exhibition, DREAMS, at Moco Museum Amsterdam, I crafted immersive environments where these two realms coexist and engage with one another. Through artworks like A Dream and How I write my stories, I leverage digital media to explore the complexities of the inner psyche, inviting visitors to navigate surreal landscapes that unfold through digital narratives. Conversely, Take Over Elastic —one of the key installations from DREAMS —features monumental pink structures that create a sense of warmth and emotional resonance. By rendering the digital world tangible and relatable, I aim to redefine the relationship between these spaces, encouraging us to perceive them not as distinct entities but as interconnected dimensions of our everyday experience.
Reflecting on my previous works, the Hortensia Chair is a perfect example of this approach. It started as a digital artwork, but its popularity in the virtual world led to it being transformed into a real piece of furniture. Similarly, my Take Over series, which features monumental structures and interactive elements, emphasizes how virtual ideas can inspire real-world experiences. These creations allow people to move through and influence their surroundings, showing how flexible and interconnected the physical and digital can be. Ultimately, these works demonstrate the power of art and design to break down the barriers between the virtual and the real, making both more accessible and intertwined.
What is left of all the hype that NFTs and metaverse had in recent years? Is it all gone or do these tools still have potential for digital art?
I believe they do still hold significant potential for digital art, but it is fundamental that we consider them for what they are: tools. I’ve always enjoyed using all the tools that are available to me, as this provides a challenge and opportunity for creative growth. It is the artist who conducts what is being created, who is the author. The challenge, very frequently, lies within the user. Technology offers infinite possibilities, and an overabundance of choices isn’t always conducive to creativity; but the true artistry comes from understanding and harnessing these tools, and practicing discipline even in front of limitless options. These limitless options can be turned into mere tools at our disposal. We should learn to think and act that way, understanding how to augment and aid the, truly, irreplaceable human mind and creative spirit.
What’s your opinion on AI applications to digital design? Do you think that the audience still has a polarized feeling, which oscillates between the fear (of being replaced) and hyper enthusiasm?
I believe AI applications in digital design represent a fascinating evolution in our creative toolkit, providing incredible opportunities for innovation and efficiency, but it is crucial to approach these technologies as collaborative tools rather than substitutes to human skills. In my experience, AI acts as a collaborator, extending my creative capabilities. The unpredictability of its contributions can lead to unexpected breakthroughs, pushing beyond our comfort zone and toward daring ideas. Ultimately, while AI offers inspiration, it is the human prerogative to choose which ideas align with our vision. This endless discovery of unforeseen possibilities becomes a continuous exercise in creation, a chance to embrace a free and liberating approach.
What do you foresee in the future of digital design?
Again, a progressive and organic integration of digital and physical realities, where the distinctions between these realms become increasingly irrelevant and both environments are perceived as equally valid, allowing artists to create works that exist at this intersection. My goal is to invite viewers to explore new ways of thinking, feeling, and experiencing the world, triggering emotions and ideas that resonate deeply with their own perceptions of reality. In this landscape, I believe we will see an increase in collaborations between brands and artists who leverage AI to produce work that is not only visually stunning but also emotionally resonant and that are able to foster connections more aligned with the changing cultural context.
LINK
- Between dust and algorithms. A day with Damiano Tata in his studio - October 24, 2025
- Giuliana Cunéaz: art as an exploration between science and wonder - September 12, 2025
- Beyond the screen: immersion, embodiment, and empathy at Venice Immersive - August 29, 2025
