The Real de San Carlos museum was designed as a complete multimedia experience — interactive displays, video projections, timeline installations, and cinematic mapping — built around one of Uruguay's most singular historical sites: a bullfighting arena where no bull, matador, or horse was ever killed.

Within that larger project, I was commissioned to develop a series of holographic display pieces projected onto real objects from the collection. Each piece had to activate a physical artifact — make it speak — without competing with it.

This one projects onto a pair of real emboladuras — protective coverings fitted over a bull's horn tips — and takes the arena's distinctive condition as its narrative core. The object itself is the argument: it exists precisely because killing was never the point.

The production required reconstructing a world that no longer exists. The Real de San Carlos was built in 1909 — generating a version of the arena as it may have looked then, populated with period crowds and surrounded by the visual context of early twentieth-century bullfighting, demanded precise historical direction at every stage. AI defaults to the generic; this subject had no room for it.

Where AI couldn't deliver, I worked with processed real footage and integrated both sources into a single coherent visual language.

Working from script and voiceover, I handled visual direction, AI-assisted generation, image curation, editing, graphics, animation, and adaptation for holographic projection.