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Carlos Ginzburg is an Argentinian conceptual and theoretician (artealdia) whose art
often features elements of digital art, fractals chaos, and fractal art.Ginzberg studied
philosophy and social theory, and developed the concept of “political ecology” alongside
art critic Pierre Restany (Henrique). He has worked with various curators and has had solo
shows worldwide.

Homo Fractulus (1999) is a mixed-media piece of fractal art created by Carlos Ginzberg, using
the Mandelbrot set repeating infinitely. Fractal art highlights complex relationships - disorder
versus order, microcosms versus larger spaces, the conceptual versus the exact. At its core,
Homo Fractulus is based on the idea that humans are the most essential fractal object, and
explores the space given to human identities in the age of technology.

Just as humans oscillate between the rigid (capitalistic) systems around them and the free will
to express themselves, the fractalman is rigid and systematic in the ways that the fractal
expands, but is also infinitely complex and chaotic, expanding infinitely without a clear shape.
Identity falls somewhere between these two extremes, and somewhere within the never-ending fractals.
This ultimately presents humans as the final “form” of technology by using technology and
mathematics to generate infinitely complex figures when inspected finely but showing a human
as a big picture