[3][4] His multidisciplinary and experimental work addresses the question of immateriality in art, as well as the logics induced by computers, such as hybridization, generativity, interactivity, networking.

[5] He develops different themes in his work, such as the relationship between nature and artifice, the observation of flux and networks organizing our contemporary societies, the imaginary of architecture and virtual cities, the transposition of patterns from Islamic art into the digital world.

He then moved to Paris, whose cultural richness and numerous exhibitions (including the one on Marcel Duchamp in 1977 and the famous Paris-New York, Paris-Moscow and Paris-Berlin at the Centre Georges Pompidou) struck him as a revelation.

[1] Miguel Chevalier joined the École Nationale Supérieure des Beaux-Arts of Paris in 1978 where he learned the basics of drawing and sculpture, where he graduated in 1981.

[5] The completion of Miguel Chevalier's training also included a few stays abroad: the Pratt Institute and the School of Visual Arts in New York, thanks to the Lavoisier scholarship from the Ministry of Foreign Affairs in 1984.

His encounter with Serge Equilbey, engineer at the CNRS optics center, gave him access to Numelec computers which analyze images by successive processing.

The end of the 1980s and the birth of micro-computing is a turning point in Miguel Chevalier's practice by allowing him to acquire a personal computer as well as a color printer.

With the appearance of the first moderately priced graphics cards, able to calculate thousands of polygons, in between the 90s and the 2000s, the artist could then create his first generative works in 3D with his virtual gardens entitled "Sur-Natures".

[8] The rapid development of new technologies starting 2005, particularly the development of increasingly powerful and accessible PC computers but also the appearance of open sourced programs and engines such as Pure Data or Unity, led Miguel Chevalier to create, with the help of computer scientists, generative and interactive virtual reality software like “Fractal Flowers”, “Liquid Pixel”, “Second nature” and “Terra incognita”.

[7] With the development of increasingly complex digital works, Miguel Chevalier surrounded himself with a team of specialists in a studio he called La Fabrika, in reference to Andy Warhol's factory.

[5] Miguel Chevalier's work pursues a constant dialogue with the history of art, in a continuity and a metamorphosis of vocabulary, to explore and experiment with a new pictorial language.

[1][11] The representations of the world no longer boil down to describing the territories, but rather learning about the flows that drives continents and thus expressing the ways in which recent technologies influence the constitution of new images of the globe,[12] Miguel Chevalier has had an early interesting the theme of networks.

[1] For the classic notions of near and far, slow and fast for the calculation of extents and distances, Miguel Chevalier substitutes those for connections, continuous or discontinuous interlacing and relations between spaces for cartographic installations, such as in Crossborders, which are now established on the invisible links, information and exchanges that roam our world.

Works: Crossborders, Mini Voxels Light, Digital Supernova Inspired by the tales of the Thousand and One Nights, Miguel Chevalier developed a virtual language creating a world of colors and patterns, which would transform, as through a kaleidoscope, the universe into constellations.

[16] Miguel Chevalier's virtual gardens utilize algorithms borrowed from biology, which allowed him to create universes of artificial life, effects of growth, proliferation and disappearance.

Since the early 90s using digital technology, as in Terra Incognita, the artist has been translating the new forms of contemporary life and cities today: growth, infinite renewal, speed, transformation.