Hef Prentice

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	<title>Hef Prentice</title>
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	<pubDate>Wed, 25 Feb 2026 13:33:16 +0000</pubDate>
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		<pubDate>Wed, 26 Jul 2023 01:55:35 +0000</pubDate>

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		<title>Neo Goddess</title>
				
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		<pubDate>Fri, 04 Jul 2025 11:20:38 +0000</pubDate>

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Soy una flor,
Soy un animal,
Soy un mineral


NEO GODDESS

The female body was only accepted within the pictorial space when cloaked in mythical justification: Eve, Venus, Artemis, Mary. It wasn’t until the 19th century that Manet unveiled Olympia (1863), portraying a naked woman—yet not a divine one. She was urban, autonomous, present. The reaction was scandalised outrage. A body without myth proved intolerable; calls for its removal followed. That painting opened a portal—allowing art to gaze upon women without mythologising them, while revealing the social cost of such a gaze.


Neo Goddess revisits and subverts this genealogy.
In a parallel reality, these bodies are far from idealised—they are mutant, synthetic, hybrid. Some appear mid-assembly inside spacecraft, caught in biomechanical processes of creation. There is no purity, no symmetry, no submission. Only exuberance, mutation, and desire—without the symbolic obedience that canonical beauty demands. They are fragmentary, mechanical, excessive, elusive.Constructed through code, digital sculpture, 3D animation, and fragments of my own body.


Barcelona, 2025


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Neo Goddess

Los Autorretratos Expandidos de Hef Prentice


En el umbral entre la identidad y la alteridad, entre el yo y su simulacro, las esculturas digitales de Hef Prentice nos confrontan con una interrogación fundamental sobre la naturaleza del autorretrato en la era tecnológica. Esta serie de obras constituye un territorio de exploración donde la artista se aventura en un proceso de desdoblamiento que evoca tanto la metamorfosis ovidiana como la inquietante multiplicación de identidades que Borges exploró en sus laberintos literarios.

Prentice inicia este viaje creativo desde el autorretrato tradicional, pero lo expande más allá de los límites de la representación mimética. Sus esculturas digitales funcionan como espejos tecnológicos que no se contentan con reflejar, sino que interpretan, transforman y, finalmente, emancipan la imagen de su creadora. Como en Las Meninas de Velázquez, donde el artista se incluye en la obra para cuestionar los límites entre realidad y representación, Prentice se inscribe en sus creaciones digitales para luego observar cómo estas adquieren vida propia.

El proceso evolutivo de estas piezas evoca la filosofía de la simulación de Jean Baudrillard, donde la copia no solo reemplaza al original sino que se convierte en una realidad autónoma. Las obras de Prentice trascienden su función representativa para convertirse en entidades independientes, en personajes que gradualmente se distancian de su matriz original hasta lograr una completa disociación. Este fenómeno nos remite también a la noción de "lo siniestro" (das Unheimliche) de Freud: lo familiar que se vuelve extraño, lo propio que se torna ajeno.

En el contexto de la historia del arte, esta propuesta dialoga con las exploraciones identitarias de Cindy Sherman y sus Untitled Film Stills, donde la artista se multiplica en infinitas máscaras, pero llevando el concepto hacia la autonomía digital del personaje.

La disociación final entre artista y personaje digital plantea preguntas urgentes sobre la autoría en la era de la inteligencia artificial y la creación algorítmica. ¿En qué momento la obra se independiza de su creador? ¿Cuándo el autorretrato deja de ser auto-representación para convertirse en otredad? Prentice nos invita a contemplar esta frontera difusa, este territorio liminal donde la tecnología no solo amplifica la creatividad humana sino que la trasciende, generando nuevas formas de existencia estética que escapan al control de su origen.

En última instancia, estas esculturas digitales operan como una meditación contemporánea sobre la multiplicidad del ser en la era digital, donde cada individuo contiene multitudes virtuales y donde la identidad se revela como un proceso en constante transformación antes que como una esencia fija. Hef Prentice nos ofrece así un autorretrato que es, paradójicamente, el retrato de su propia desaparición.

Texto por Ruth Geoffroy, curadora de arte.
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Daemon
En distintas tradiciones la idea del “daemon interior” aparece bajo distintos disfraces, pero casi siempre con el mismo núcleo: el enemigo, el tentador o el destructor no es un ser externo, sino un aspecto íntimo del propio ser que hay que reconocer, integrar o trascender. No se trata de un demonio literal, sino de una fuerza interna (miedos, inseguridades, deseos autodestructivos, resentimientos, adicciones) que sabotea, tienta o limita. 
En la alquimia espiritual, sobre todo en la tradición hermética y algunas formas de alquimia rosacruz, se hablaba del Adversario Interno. Este “demonio” no es necesariamente malvado: es la fuerza cruda y caótica que hay que purificar en la Obra. Algunos textos lo describen como el “dragón” o el “guardia del umbral”, cuyas pruebas deben ser superadas para pasar a un plano de conciencia más alto. El iniciado, al luchar con su demonio, en realidad lucha por imponer su voluntad sobre su propio material oscuro y caótico. En algunas corrientes gnósticas, esto encajaba con la idea de que el ego y los apegos materiales crean una prisión interna en forma de ignorancia (agnosis). 
El trabajo es despertar, no expulsar algo externo. En el budismo, Māra es una figura central para entender la noción de “demonio interno” sin caer en el dualismo clásico de bien contra mal. En el se personifica todo lo que desvía, seduce o paraliza al practicante en el camino hacia la iluminación. Por eso, en muchas interpretaciones contemporáneas, Māra es visto como la suma de patrones mentales condicionados que nos mantienen atrapados en el samsara. Obviamente todo esto se acerca a la noción junguiana de la Sombra: esa parte reprimida o negada de nosotros mismos que, si no se reconoce, actúa de forma autónoma y puede arrastrarnos hacia comportamientos destructivos.

LIMITED EDITION PRINTSigned/Numbered- 67x37cm + 2cm white margin- 130x72cm + 2cm white marginPapel Platine Fibre Rag 310grs – 100% Cotton Canson Infinity
Info: hef.prentice@gmail.com


Neo Goddess © Hef Prentice

x MUTEK AR 7ma Edicion
Buenos Aires, Argentina 2025
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		<title>XYZ</title>
				
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		<pubDate>Wed, 25 Feb 2026 13:33:16 +0000</pubDate>

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XYZ Sound Sculptures - Marcos Micozzi &#38;amp; Hef PrenticeXYZ Sound Sculptures is a hybrid project transforming sound into sculptural form and moving image. During live performances, instruments are routed into a virtual environment and manipulated by Marcos Micozzi in real time with VR (Oculus). Trajectories of sound are captured as X, Y, Z coordinates, forming blueprints for organic 3D sculptures. Visual artist Hef Prentice translates these data into volume, texture, and movement, modeling and 3D-printing each sound as sculpture, creating a tangible materialization of sound itself.

A system that turns sound into form.


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Exhibitions
The Screen, OFFF Barcelona
Barcelona,
 Spain 2026
Death? Yes/No/Maybe,
A Hidden Variable — Berlin, Germany, 2026
DYSTOPIA / UTOPIAXYZ for Critical Mass X WE ARE THE FUTUREImmerse HK, Kwun Tong, Hong Kong, 2026XYZ, Haven GalleryBayron Bay, Australia 2025 - 2026Pertinacious,LumiNoir ART GalleryLondon, UK 2025BAIFF VENICE Film FestivalAI Art Video - Shorlist NominationVenice, Italy 2025Industria Ritual, Simposio 04Muket AR x Comite 357Buenos Aires, Argentina2025Ghosts in the Feedback LoopPermanent Virtual Exhibitionby @uaad.art TechnomirageNew York City, USA 2025
Recognition
Longlisted — ArtEvol 2025, Saatchi Gallery LondonShortlisted — BAIFF AI Film Festival, Venice 2025Shortlisted — Berlin Fashion Film Festival 2024Shortlisted — SAE International Awards, Cologne 2025


Publications
2025 Prompt Magazine Issue 16
2025 Techno Mirage Archive


Collaborators
Marcos Micozzi — Concept, Spatial Audio, Data

Hef Prentice — Concept, Sculpture, Visual Art

Curatorial Consulting — Ruth Geoffroy, Facundo Alcala


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		<title>About</title>
				
		<link>https://hefprentice.com/About</link>

		<pubDate>Tue, 26 Mar 2019 07:08:57 +0000</pubDate>

		<dc:creator>Hef Prentice</dc:creator>

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Hef Prentice


	Designer &#124; 

Sculptor 
&#124;


Jewelry Designer


&#124;

 
Film Photographer &#124; 

Illustrator 

&#124;

Stylist &#124; CGI Artist&#38;nbsp;
based in Madrid


︎&#38;nbsp;︎ ︎&#38;nbsp;︎&#38;nbsp;︎
Hef Prentice is an Argentine artist, whose work explores the boundaries between the organic and the synthetic through sculpture, digital design, photography, and animation.

Her artistic practice is distinguished by an aesthetic that interweaves the mythical with the technological, creating a visual language in which the body acquires a new dimension and figures transcend both biology and the machine to inhabit a hybrid space of possibilities.

Renowned for her ability to translate digital languages into the physical realm with technical precision and a strong conceptual approach, Prentice masters multiple sculpting, animation, and design softwares, collaborating with specialists in engineering, 3D printing, and curating to bring her visions to life.

Her work has received international recognition, having been published by Gallimard in 100,000 Years of Beauty and by Vogue Italia. She has participated in prestigious festivals such as MUTEK in Argentina and ZAZ Corner in New York, consolidating her presence within the global art circuit.


Prentice’s work establishes a constant dialogue between the body, technology, and the mythological, shaping a space for reflection on identity in a world where flesh and code are increasingly and irreversibly intertwined.

Her creations challenge traditional evolutionary categories, proposing new ways of understanding who we are when the organic and the synthetic collapse into a new entity that redefines contemporary paradigms of art and human experience.


Selected works:

  
Kappa, Indira Paganotto, ArtCore, Cole Knight, Sita Abellan, Kim Kardashian, JBalvin, 

Blackmamba,

The Clueless, 
Henri Bergmann,&#38;nbsp;Cazzu,


Tramando, Sadaels,    

 Alyx, 

Mishbv,


Viktor &#38;amp; Rolf, Paris Fashion Week, MAC Cosmetics, Maybelline, Max Factor, 

Lilith by Sita, 
Kuurth, Ona Saez, Las Oreiro,


Sketch-y, Las Pepas,


Electric Zoo Festival, Pollen Festival, Beatport,


 Tecate pal Norte Festival, Watergate Records, Automatik Records, Space Miami, Warner Bros.

Magazines: Vogue Italia, Indie Magazine, Nakid Magazine, Contributor Magazine, Sicky Mag.


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"Prentice captures the blurry line between darkness and innocence, desire and restraint. Her young subjects, donning fishnet tights and sheer underwear, inhabit decadent interiors hidden from the outside world. Capturing intimate atmospheres on 35mm film, the young analog photographer casts a curious eye on young sensuality. When she’s not shooting, Prentice also flexes her fashion stylist and visual artist muscles form time to time".- Dazed and Confused Magazine

“Magic realism
Who is the fantastic character from @lilithbysita's profile and who is behind its creation? As we mentioned, this is the face of the jewelry brand Sita Abellan, and more specifically the Spring-Summer 2020 collection - ALEPH, inspired by carnality, magic and feminism. The project also refers to the mythological view of the woman, which is connected with the contemporary vision of humanity.&#38;nbsp;HEF PRENTICE&#38;nbsp;( bb.motion ) - an Argentine photographer, artist and stylist is responsible for the 3D images. In her works, realism is borderline with the world we know from films about the future.” - Natalia Tokarz 


"Hef Prentice is a young photographer based in Argentina. Watching at her works actives an immediate mechanism so that we are automatically catapulted in her world immersed in an atmosphere that is at the same time fairy but dark, gentle but strong. It’s a world of clear contrasts that, however, create a perfect balance. Her photographs absorb you completely and catapulte everybody everywhere and at no time. The atmospheres are halfway between prohibited and mystery, maybe spiced by a bit of anxiety. Imprecise cut but not accidental images that arise in her thoughts and become real on photographic film; it’s the lively reality in her mind and photography it’s the code she uses to communicate it." - Artwort, Italia 


“Americana Exotica” is the pinnacle of the romantic tapestries Prentice can create digitally—a vivid fantasyscape featuring a group of otherworldly female figures with cyborg features, in repose surrounded by lush nature. It’s a fairy-tale, if it were set in the year 2100”. Emma Firth - Wetransfer.

In 2025, she was selected by the MediaLab of the Cultural Centre of Spain in Buenos Aires with Gen_0, a hybrid robotic installation combining sculpture, sensors, and digitally generated imagery, currently in production. The previous year, in 2024, she was awarded a full scholarship for the Master’s in 3D VFX at LCI Barcelona with White Orchid, a hybrid installation 3D-printed in PLA and integrated with a living orchid.


Prentice was selected as the artist of the month by curators at the WeTransfer platform and took part in the 5th edition of Mutek AR 2023.


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	Publications &#38;amp;
 Exhibitions
WorkCatalogue


Photography


Bestiario
CGI

Animation

Sculpture

Illustration


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Prentice is currently working in Madrid as a creative designer and collaborator for jewelry houses, where she designs collections, sculpts, and models pieces in 3D. These designs are then 3D printed and cast into metals with precious stone inlays. She is a fresh and alert mind, brimming with ideas that draw from the past, present, and future.
She also collaborates with international DJs such as Indira Paganotto, working as a designer, creative artist, and VJ, as well as a graphic designer for Henri Bergmann's label in London. Additionally, she actively participates in leading contemporary art festivals and galleries worldwide, such as Mutek AR 2024, where her digital art and animation work was showcased for two consecutive months.


Prentice’s significant and successful collaborations have established her as one of the most prestigious and sought-after artists and designers in the world today.


In 2024, her work was selected by the renowned French publisher Gallimard to be featured in the new edition of the acclaimed art history book 100,000 Ans de Beauté.

Under the scientific direction of Pascal Picq, Georges Vigarello, Marc Nouschi, and Françoise Gaillard, 100,000 Years of Beauty unites contributions from over three hundred authors from diverse cultural and linguistic backgrounds, spanning approximately thirty-five nationalities. For over one hundred thousand years, the human pursuit of beauty has been a profound and universal endeavor, with the human body serving as its ultimate canvas. Through body shaping, the definition of ideals, the application of colors, hairstyles, adornments, nudity, and clothing, this rich tapestry of expressions forms a language that communicates cultural identity, gender, era, age, and social status.


Prentice was awarded a prestigious scholarship by LCI Barcelona to pursue a Master’s degree and postgraduate studies in 3D Animation and VFX. She is currently engaged in groundbreaking collaborations with scientists, merging sound art and technology in innovative projects.


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	&#60;img width="1080" height="1920" width_o="1080" height_o="1920" data-src="https://freight.cargo.site/t/original/i/5cdf7b5420953642b1ce88c04110d07b5a5a984b98769730fc819e0cceac8c34/INDIRA-07_0000-2.png" data-mid="222485639" border="0" data-scale="100" src="https://freight.cargo.site/w/1000/i/5cdf7b5420953642b1ce88c04110d07b5a5a984b98769730fc819e0cceac8c34/INDIRA-07_0000-2.png" /&#62;
	

¨Hef Prentice’s work emerges at a critical juncture in contemporary digital art: the point where technology ceases to be a mere tool and transforms into a new way of conceiving what we understand as human. Her exploration of the female body through CGI and artificial intelligence goes beyond the history of art and its archetypal obsession with the feminine. In her work, the body takes on a new dimension: the organic and the synthetic collapse into a hybrid space, where figures no longer belong to biology nor machine, but to a new entity that challenges traditional evolutionary categories.
By moving beyond classical narratives about the body, Prentice’s figures become manifestations of a femininity empowered by the ambiguity of this pivotal moment. In this interplay between visual representation and the reality of virtual space, she proposes a body that, despite being shaped by algorithms, possesses its own existential weight. Her work generates a palpable sense of unease: as the viewer enters Prentice’s worlds, they are confronted by entities that appear human but are something more—perhaps their own future versions—like a slightly distorted mirror reflecting the next stage of collective metamorphosis.
The Bestiary series is one of the clearest manifestations of this approach. Inspired by medieval catalogues of fantastic creatures, architecture, and sculpture from multiple cultures, Prentice creates beings that oscillate between the biological and the mechanical. These fascinating hybrids, although crafted using software, possess a deeply animalistic, organic, and mythological quality. It is here that Prentice’s work touches on the ancestral, while looking forward—as if to say that in this new digital world, we are still searching for those mythical creatures, but now we find them in the convergence of bytes and synthetic skin.
The constant dialogue between the body, technology, and mythology defines Prentice’s work as a space for reconsidering who we are in a world where flesh and code are beginning to intertwine irreversibly.¨

Text by Diego Gravinese


&#60;img width="1024" height="1024" width_o="1024" height_o="1024" data-src="https://freight.cargo.site/t/original/i/711f24635fccb9cb73ad1fff7696104090237b1cc613a85e3c5140b368035c18/BESTIAS-15-LOW.png" data-mid="222485540" border="0" data-scale="100" src="https://freight.cargo.site/w/1000/i/711f24635fccb9cb73ad1fff7696104090237b1cc613a85e3c5140b368035c18/BESTIAS-15-LOW.png" /&#62;
</description>
		
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	<item>
		<title>Black Core</title>
				
		<link>https://hefprentice.com/Black-Core</link>

		<pubDate>Thu, 05 Jun 2025 08:38:21 +0000</pubDate>

		<dc:creator>Hef Prentice</dc:creator>

		<guid isPermaLink="true">https://hefprentice.com/Black-Core</guid>

		<description>
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BLACK CORE

Barcelona, 2025


Anatomía del síntoma

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</description>
		
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	<item>
		<title>ATENEA</title>
				
		<link>https://hefprentice.com/ATENEA</link>

		<pubDate>Mon, 11 Nov 2024 16:21:44 +0000</pubDate>

		<dc:creator>Hef Prentice</dc:creator>

		<guid isPermaLink="true">https://hefprentice.com/ATENEA</guid>

		<description>
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Atenea
Barcelona, 2024</description>
		
	</item>
		
		
	<item>
		<title>KITSUNE</title>
				
		<link>https://hefprentice.com/KITSUNE</link>

		<pubDate>Fri, 15 Nov 2024 03:54:16 +0000</pubDate>

		<dc:creator>Hef Prentice</dc:creator>

		<guid isPermaLink="true">https://hefprentice.com/KITSUNE</guid>

		<description>
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KURTH
 X PRENTICE&#38;nbsp;“Japan collection”, February 27th, 2025 / “Japan collection V2”, August 31st, 2025-Limited Edition-Designed and Sculpted in 3D by me

Kitsune - Ring Material: 925 sterling silverStones: Red zirconiasWeight: 9.3 grams
Barcelona, Dec 2024</description>
		
	</item>
		
		
	<item>
		<title>50% Angel 50% Demon </title>
				
		<link>https://hefprentice.com/50-Angel-50-Demon</link>

		<pubDate>Mon, 23 May 2022 21:12:26 +0000</pubDate>

		<dc:creator>Hef Prentice</dc:creator>

		<guid isPermaLink="true">https://hefprentice.com/50-Angel-50-Demon</guid>

		<description>
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50% Angel 50% Demon&#38;nbsp;

Muse Caro Vij
Collab Leo Berne
April 2022

</description>
		
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		<title>Patronus </title>
				
		<link>https://hefprentice.com/Patronus</link>

		<pubDate>Fri, 14 Feb 2025 18:26:43 +0000</pubDate>

		<dc:creator>Hef Prentice</dc:creator>

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Patronus
Barcelona, 2025</description>
		
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		<pubDate>Mon, 27 Feb 2023 11:51:40 +0000</pubDate>

		<dc:creator>Hef Prentice</dc:creator>

		<guid isPermaLink="true">https://hefprentice.com/Animation</guid>

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BEASTS

Buenos Aires, 2023 - 2024


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Nightmare
Barcelona, 2025

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COSTA BRAVA

Barcelona, 2025


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BIOLUMINISCENCE
Buenos Aires, 2020 - 2023


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