Fellowship, in collaboration with ARTXCODE, is proud to present No Me Olvides, a new solo exhibition and collection by Ix Shells (Itzel Yard) debuting at Art Basel Miami Beach 2025 as part of the fair’s inaugural Zero 10 space for art of the digital era.

Co-curated by Juan Canela and Alejandro Cartagena, with Emilie Boe Bierlich, who contributed the Nordic curatorial framework originally developed for the acclaimed 2024 exhibition Against All Odds at Denmark’s National Gallery (Statens Museum for Kunst), the presentation continues Yard’s exploration of visibility, data, and cultural memory, linking the histories of Nordic women artists to her own Afro-Caribbean and Latin American heritage through generative systems of light and sound.

Curator Juan Canela writes, “This work by Ix Shells emerges from the legacy of pioneering Latin American women artists who developed their practice during the nineteenth century. Through a powerful double gesture, Ix Shells creates a temporal bridge between past and present, updating and reinterpreting their works while simultaneously reclaiming their importance, long buried at the margins of art history.” Presented as a large-scale digital installation, No Me Olvides unfolds across four algorithmic movements where light, sound, and code merge into an evolving field of abstraction. The viewer’s presence activates sensors that cause patterns to ripple and reform, translating proximity and motion into cascading layers of color and sound. Each generative sequence draws from the tones, gestures, and compositions of the historical works, abstracting brushstrokes into constellations of digital light that pulse in rhythm with the generative score composed by Ix Shells.

Ix Shells, is a Panamanian-based new media artist specializing in sound, generative art and the creative space between the two. The artistic capabilities of computational systems sparked her interest at an early age through her passion for music and video games. As she began exploring art through code, Yard discovered TouchDesigner, a visual node-based programming language that allows for real-time creation of multimedia compositions. Through this program, she interrogates the evanescent interactions between wavelength, velocity and visual expression, shaping a creative process driven by intuition and emotion. Architecture, namely the geometric structures of Brutalism, is key to her practice. Supplemented by her studies in architectural technology, she creates works with exquisite detail and spatial depth, often pulling patterns present in her daily life, before abstracting them together through elements of digital aesthetics like glitch, gradients and pixelation.

Fellowship, in collaboration with ARTXCODE, is proud to present No Me Olvides, a new solo exhibition and collection by Ix Shells (Itzel Yard) debuting at Art Basel Miami Beach 2025 as part of the fair’s inaugural Zero 10 space for art of the digital era.

Co-curated by Juan Canela and Alejandro Cartagena, with Emilie Boe Bierlich, who contributed the Nordic curatorial framework originally developed for the acclaimed 2024 exhibition Against All Odds at Denmark’s National Gallery (Statens Museum for Kunst), the presentation continues Yard’s exploration of visibility, data, and cultural memory, linking the histories of Nordic women artists to her own Afro-Caribbean and Latin American heritage through generative systems of light and sound.

Curator Juan Canela writes, “This work by Ix Shells emerges from the legacy of pioneering Latin American women artists who developed their practice during the nineteenth century. Through a powerful double gesture, Ix Shells creates a temporal bridge between past and present, updating and reinterpreting their works while simultaneously reclaiming their importance, long buried at the margins of art history.” Presented as a large-scale digital installation, No Me Olvides unfolds across four algorithmic movements where light, sound, and code merge into an evolving field of abstraction. The viewer’s presence activates sensors that cause patterns to ripple and reform, translating proximity and motion into cascading layers of color and sound. Each generative sequence draws from the tones, gestures, and compositions of the historical works, abstracting brushstrokes into constellations of digital light that pulse in rhythm with the generative score composed by Ix Shells.

Ix Shells, is a Panamanian-based new media artist specializing in sound, generative art and the creative space between the two. The artistic capabilities of computational systems sparked her interest at an early age through her passion for music and video games. As she began exploring art through code, Yard discovered TouchDesigner, a visual node-based programming language that allows for real-time creation of multimedia compositions. Through this program, she interrogates the evanescent interactions between wavelength, velocity and visual expression, shaping a creative process driven by intuition and emotion. Architecture, namely the geometric structures of Brutalism, is key to her practice. Supplemented by her studies in architectural technology, she creates works with exquisite detail and spatial depth, often pulling patterns present in her daily life, before abstracting them together through elements of digital aesthetics like glitch, gradients and pixelation.

Fellowship, in collaboration with ARTXCODE, is proud to present No Me Olvides, a new solo exhibition and collection by Ix Shells (Itzel Yard) debuting at Art Basel Miami Beach 2025 as part of the fair’s inaugural Zero 10 space for art of the digital era.

Co-curated by Juan Canela and Alejandro Cartagena, with Emilie Boe Bierlich, who contributed the Nordic curatorial framework originally developed for the acclaimed 2024 exhibition Against All Odds at Denmark’s National Gallery (Statens Museum for Kunst), the presentation continues Yard’s exploration of visibility, data, and cultural memory, linking the histories of Nordic women artists to her own Afro-Caribbean and Latin American heritage through generative systems of light and sound.

Curator Juan Canela writes, “This work by Ix Shells emerges from the legacy of pioneering Latin American women artists who developed their practice during the nineteenth century. Through a powerful double gesture, Ix Shells creates a temporal bridge between past and present, updating and reinterpreting their works while simultaneously reclaiming their importance, long buried at the margins of art history.” Presented as a large-scale digital installation, No Me Olvides unfolds across four algorithmic movements where light, sound, and code merge into an evolving field of abstraction. The viewer’s presence activates sensors that cause patterns to ripple and reform, translating proximity and motion into cascading layers of color and sound. Each generative sequence draws from the tones, gestures, and compositions of the historical works, abstracting brushstrokes into constellations of digital light that pulse in rhythm with the generative score composed by Ix Shells.

Ix Shells, is a Panamanian-based new media artist specializing in sound, generative art and the creative space between the two. The artistic capabilities of computational systems sparked her interest at an early age through her passion for music and video games. As she began exploring art through code, Yard discovered TouchDesigner, a visual node-based programming language that allows for real-time creation of multimedia compositions. Through this program, she interrogates the evanescent interactions between wavelength, velocity and visual expression, shaping a creative process driven by intuition and emotion. Architecture, namely the geometric structures of Brutalism, is key to her practice. Supplemented by her studies in architectural technology, she creates works with exquisite detail and spatial depth, often pulling patterns present in her daily life, before abstracting them together through elements of digital aesthetics like glitch, gradients and pixelation.