Digital Arts represents for de la Sota the possibility of creation without impositions and without limits. Although, he does not considered himself an artist of any medium there is clear artistic sensitivity tinted with minimalist style in his digital images. A common thread in his work is the notion of fragmentation of geometrical elements such as the small squares of different sizes depicted in Robo2 and Robo3. The artist admits that the fragmentation is a reflection of the society and the chaotic situation of his country. Red is a predominant color throughout the plane, perhaps a reminiscent of the violent past associated with the years of the dictatorship and the fatal outcome of the Balkan war. His image Fuimos whose title means We were already implies a look to the past a sense of nostalgia perhaps for those years of economic development, and the sophistication of the Buenos Aires of the early 20th century, once considered the “the Paris of America”. The blur look of the image Fuimos brings again the issue of uncertainty and hopelessness. The picture posses a lack of definition of the different elements, an urban landscape, images of modernity. The composition is divided in two, the urban details in the left and an empty right side, perhaps suggesting a juxtaposition between a prosperous past and the scarcity of the present.

The multiplicity of boxes in Robo2 and Robo3 could be interpreted as the rigidity of the politics, in many respects imposed from abroad, that has brought the country to its knees. It also suggests that the country did not have a coherent vision of its path. Today’s attempt to gear the Argentinean political and economical future seems to be additional patches to fix immediate problems, similar to a quilt knitted with an unclear pattern in mind. Both Robo2 and Robo3 are basically a repeated pattern modified only by color, from red to yellow. The slight difference between the pieces can be tied to the artist’s opinion in relation to the country’s changes which are not of significant magnitudes but rather superficial, a relief and not a cure. One of the most eloquent examples about this issue is the next presidential election that is to be held in December 2003 in which ironically Carlos Menem the former president is again a candidate. What is clear is that the political class in Argentina has no credibility with the Argentinean people. The Peronista party, under Menem, had been in power for 10 years (1989-99) before being succeeded by an alliance of the Radical Party and a coalition of centre-left parties led by de la Rua, which was in turn forced out of office. The current president is Eduardo Duhalde, another Peronista, who is scheduled to see off de la Rua’s term. The government is on shaky ground and power is very much on the streets.

Although the artist does not associate his work with any artistic movement the arrangement of elements in Robo2 and Robo3 suggest a possible echo on an influential artist from the Rio de la Plata region, the Uruguayan painter Joaquin Torres Garcia. He developed a unique visual language based upon the squares and intersecting lines. They are flat spaces in which a multiplicity of symbols and ideas connected to Latin American derived from classicism, primitivism, pre-Columbian art, Neo Platonism, Cubism and surrealism (Sullivan, 266-267). Robo2 and Robo3 are particularly reminiscent of the geometric and compositional qualities of Torres Garcia. What is clearly distinctive in the la Sota approach is the absence of symbols of universal recognitions since the images are above all abstract manifestation based upon free experimentation, intuition and scribbles.