Stefany Layton Cuervo is a visual artist trained in painting, drawing, and art history at the Academy of Fine Arts in Bogotá. Her work explores the idea of expanded painting, in which the pictorial image transcends the physical canvas to unfold within computational and virtual environments. After several years devoted to physical painting, she began translating her visual language into generative systems using tools such as TouchDesigner, before extending this research to virtual reality, where bodily perception and spatial immersion have become central to her creative process. In her immersive environments, drawing becomes spatial and habitable, and the viewer’s perception is an integral part of the medium. Layton thus approaches the metaverse as a philosophical territory in constant flux: a space where images do not age, where meaning remains unstable, and where the boundaries between the real and the virtual are constantly being reconfigured. Through projects developed across physical and virtual contexts (including Metamorphosis of the Landscape), she explores the relationship between material space and digital space as a direct mode of representation, following in the reinterpreted tradition of Renaissance painters who composed ideal landscapes in their studios before transposing them into paintings.
His work has been presented in numerous digital art and new media contexts, both in Colombia and internationally, notably in New York, Miami, Melbourne, London, and Tokyo. His recent exhibitions include Poéticas topo-gráficas (Gallery Carlos Orozco, Medellín, 2026), Simulacra & Simulation (Adrián Ibáñez Gallery, Bogotá, 2026), Screens Contextualized (NEOART Gallery, Miyashita Park, Tokyo, 2026), and Future Visions (Future Art Gallery, Sydney, 2025). She has also presented projects in spaces and platforms related to immersive art (Future.io, Hyperfy, OM Metaverse, SuperRare Gallery) and participated in curatorial and institutional events in Colombia, including DEVCON Bogotá (a curatorial project with Museo Cryptoarte MOCA, 2022) and the Komanage Biennial (Turkey, 2022). At the same time, she has collaborated with Idartes (illustration for the publication “14 models to disassemble,” 2018) and participated in several research and methodology-oriented workshops (Idartes Institute, FABRICCA).
