the true colors of the Palace of Fine Arts

Julieta Gil

Fragments is an archaeological interpretation of façade elements from the Palace of Fine Arts (built in Mexico City at the beginning of the XX century). The work fragments the narrative of neo-indigenist ornaments built during a dictatorship through both material and immaterial processes.

3D printed sandstone, painted steel

dimensions variable, 70 x 40in base

Julieta Gil

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Julieta (b. 1987), lives and works between Los Angeles and Mexico City. She holds an MFA from the Media Arts program at UCLA, and a B.Arch from Universidad Iberoamericana, Mexico City. Her creative research incorporates installation, sculpture, 3D animation and print to explore topics of simulation, and the overlappings that occur between the virtual and physical.

My artistic research revolves around topics of simulation within the context of art, new media and architecture, resulting in work that incorporates animation, installation, sculpture and print. Simulation is a way to observe phenomena from an outside perspective, it’s a mathematical formula that describes a behavior, an in-between state that’s real but fake, it’s a version, a representation, a recreation, a mediation. 


My practice has become a hybrid that bridges traditional methods like casting, sculpting, the use of readymades, and  materials like wood and paper, with digital methods like virtual sculpting, painting and other highly finished processes like 3D printing. I work on digital pieces that get transferred in a physical setting or vice versa. During this translation pixels turn into color on paper, virtual form gets materialised, and physical objects get scanned, digitally altered and reproduced. As a part of this, topics of simulation and representation inevitably re-emerge. My process interrogates the very tools and methods employed in the making, and understands them as media that has a set of social, cultural, and economic qualities. Through these I engage in deeper conversations about our relationship with topics of architecture, monuments and archeology.


Technology and computational media is rapidly evolving and becoming ubiquitous and influential in our everyday life. Digital life is as real as any other kind. Ontological reality, simulated reality and media reality should no longer be separated, but instead thought of as layers that add up to what makes a complex, dimensional reality. I’m interested in inquiring into what our experience may be when these simultaneous realities form, interact and collide with each other and in the liminal states that one might encounter throughout the process. 


Electric Women

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