Jesús Moreno-Granados developed a concern for listening and sound from an early age, thanks to the contact with sound recording and reproduction tools and materials inherited from his father, Félix Moreno; who in life was radio amateur, music lover, systems analyst, and accountant. This first approach to audio-technologies was linked to the musical experiments he carried out in his early youth after being part of rock, pop, punk-rock, and art-rock bands from the local scene in Caracas such as Cassete, Aparato; Cocktail and Novolhiar; experiences after which they approached him alone to computer music and production, work with analog electronic instruments and sound methodologies and aesthetics. In 2001, these approaches to experimental music and the artistic field of sound achieved a place in the development of his sculptural work with experimentation in the sculpture workshops of the “Armando Reverón” Institute in Caracas, Venezuela. There he began to elaborate – still in the making, and intuitively – a body of work in the field of the sound arts that at the time was questioning about the relations of sound with the object, the image and the space, and from which begins to specify more clear questions about the materiality and spatiality of sound.

While pursuing undergraduate studies in fine arts in Caracas, he attended the art radio seminar given by announcer and radio artist Jorge Gómez; with which the relationship of Moreno-Granados with the field of the sound arts was affirmed.

This relationship is evident in his special work “Compendium”, whose research and development approached Moreno-Granados to the works of Marcel Duchamp, Helio Oiticica, Cristian Marclay, Benoit Maubrey and other sound explorers.

Within this transit, the development of experimental proposals such as “Noisebookx”, “Re-plugged” and “La caja Canción” gave rise to Moreno-Granados’ experimental deepening with sound, from which he began to build his own understanding of the relations of sound with disciplines typical of the plastic arts such as sculpture, painting, graphic arts and ceramics; to find himself in that exploratory research with a specific field whose possibilities (by requiring his own methodology and concrete theoretical knowledge) led him to study sound art at the University of Barcelona with artists-teachers such as Joseph Cerdá, Manuel Berenguer and Carmen Pardo.

The beginning of the body of work in sound art can be placed in the project “Dressed in sound” (2008), whose central axis is a dress made with hand-woven sound tape. By delving into these explorations, the creative and methodological dimension of their sound work begins to expand towards sound installation, analog electronics and theoretical reflection on the fundamental concepts of sound art and its historical development.

By using sound as a sculptural material, his proposals begin to show an understanding of listening understood as a meditative, relational and binding dimension. Taken from the plastic arts through various exercises, experiments and approaches, this issue acquires a specific weight within the creative production and the thinking of Moreno-Granados, to consolidate itself as a specific research work in the Master’s Degree in artistic education of the National University of Colombia, where he constructs the elements of the research work entitled “The expansion of listening to a pedagogy of sound art”, in which he places his arguments on pedagogy and research in the arts from the perspective of sound studies.
After studying sound sculpture with Joseph Cerdá and composition and improvisation with Gerry Weil, Moreno-Granados dedicates himself to composition on support and to the study of Crystal Baschet, theremine and bass guitar.