About
Biography
Wuilfredo Soto (Caracas, Venezuela, 1961) is a Miami-based visual artist whose practice centers on geometric abstraction with a focus on Op Art and kinetic perception. His work explores the relationship between structure, repetition, light, and spatial movement, creating dynamic visual experiences that shift according to the viewer’s position.
Over the course of more than two decades, Soto has developed a rigorous visual language built upon modular systems, sequential progressions, and precise geometric construction. His work operates between two and three dimensions, dissolving the boundaries between painting, sculpture, and installation. Through repetition and calculated variations, he constructs visual fields that generate vibration, depth, and perceptual transformation.
Soto works primarily with industrial materials such as aluminum, steel, wood, plexiglass, PVC, and acrylic paint, integrating digital processes into the development of his compositions. His structures are often influenced by architectural logic and contemporary design principles, resulting in works that engage both the physical environment and the viewer’s sensory awareness.
He has participated in international fairs such as Art Miami, Art Palm Beach International Art Fair, Art Boca Raton Contemporary Art Fair, SCOPE New York, ICFF – International Contemporary Furniture Fair at the Javits Convention Center (New York), and Art Santa Fe, among others. In 2023 he was invited to the 6th International Biennial of Kinetic Art in Boynton Beach, Florida. His work has been exhibited in the United States and Latin America.
Soto’s practice invites active participation: perception becomes fluid, space becomes unstable, and the artwork transforms into a living visual system activated by movement.
Artista Statement
My work explores the optical-kinetic language from a contemporary perspective. I am interested in how structure, repetition, and chromatic interaction can transform perception and activate space.
I begin with simple geometric systems that evolve through modular progressions and controlled variations. Each project functions as an experiment in balance and tension between order and vibration, stability and movement. Through repetition and spatial sequencing, two-dimensional structures expand into perceptual fields that suggest depth, fluctuation, and dynamic instability.
The material plays a central role in my practice. I work with industrial elements such as aluminum, steel, wood, plexiglass and acrylic, integrating digital processes to perfect structure and precision. These materials allow me to construct works that operate between painting, sculpture, and installation, where light becomes an active component and not a side effect.
Color for me is not inconsequential; it is a strategic tool that communicates confidence, precision and quality in a subliminal way. Its impact arises from the interaction between surfaces, lighting conditions, and the viewer’s movement. The work changes as the observer moves, producing displacements, vibrations and moments of optical ambiguity.
Influenced by architectural logic and constructive systems, my practice is grounded in discipline and clarity. I avoid narrative closure, preferring instead to create open perceptual experiences that invite active participation. Perception, movement, and spatial tension form the core of my aesthetic investigation.
Ultimately, my work seeks to transform the act of looking into a dynamic encounter—where space is reconfigured, stability is questioned, and vision becomes a li