Eva Luna Ortiz-Salwet
Official Auto-Biography
Work
I have never waited for the right conditions to begin. My working life did not start with a job offer or a formal opportunity — it started with a camera, a need to make something, and the kind of self-sufficiency that had been in me since childhood. From the very beginning, my work unfolded on multiple tracks simultaneously, and understanding my career means understanding that almost nothing in it happened in isolation. While one thing was growing, three others were already in motion.
2013 — Age 13
My first public creative work arrived the same year I turned 13, when I launched my first YouTube channel and uploaded my debut video, Cómo ser Popular — a surreal, satirical parody on the social politics of popularity, made partly out of boredom and partly as a way of processing my own experience with bullying at school. The video went semi-viral almost immediately, earning 5,000 subscribers within the first month. I had not strategized it. The response was entirely unexpected, and it changed everything. From that point forward I committed to building the channel with intention — uploading consistently, refining my editing, and developing a creative voice that was entirely my own.
That same year, also at 13, I began my first entrepreneurial venture: braiding macramé braids for classmates at school and people on the beach. The operation grew quickly enough to earn me roughly $60 a day before the school shut it down for disrupting the academic environment. Rather than stopping, I pivoted — and was hired at Gravity Puerto Rico, an accessories and beachwear store at Plaza de las Américas in San Juan, where I worked as a resident macramé braiding artist.
2014 — Age 14
At fourteen, my boss at Gravity noticed my natural talent for drawing and encouraged me to try henna tattooing. I became the lead henna artist at both the Plaza de las Américas location and a second Gravity venue at Condado Beach, spending every Saturday tattooing a steady stream of clients. The income gave me a degree of financial independence I valued deeply and have never really lost — I reinvested most of it into equipment, acquiring a GoPro, then better lighting, then a Canon DSLR, gradually building a production setup piece by piece on my own budget as a teenager.
2013–2016 — Ages 13–16
Throughout these years, I ran my YouTube channel and henna work in parallel, treating both with equal seriousness. On the channel, I was constantly pushing the limits of what I could produce — moving from iMovie to Final Cut Pro, acquiring a green screen, learning color grading, and officially beginning to direct and edit music videos, starting with projects for my father and his music. My content ranged freely across surreal skits, music videos, montages, and creative experiments that defied any single genre. The channel had no fixed category — it was a running vision board, a space where I could try anything. My audience, which had organically concentrated in Argentina, responded to its freshness and authenticity. Because I was a minor with no monetization agenda, the work had a freedom that was unusual and clearly felt by my viewers. By 2015 I was thinking strategically about growth. I identified my Argentine fanbase as the engine of my channel and made a deliberate creative decision to speak directly to them. The result was Odio los Argentinos — a satirical love letter disguised as a list of grievances, framing every reason I admired Argentine culture as a reason to be jealous of it. The video crossed one million views and pushed my subscriber count from roughly 40,000 to nearly 80,000 at its peak, making me a genuine micro-celebrity in the Latin American YouTube space. By the time the channel reached its height, I had accumulated over two million views across my content — all built organically, with no marketing budget, from a bedroom in Puerto Rico, before I was seventeen years old and before TikTok algorithms had turned content creation into a commodity.
2017 — Age 17
At 17, still enrolled at “La Central” and weeks away from early graduation, I received two institutional commissions, a school documentary and a competition entry. The Instituto de Cultura de Puerto Rico had launched an initiative offering any qualifying public school a fully funded garden — valued at approximately $1,500 — in exchange for a submitted video making the case for why school gardens matter. The school, which had already commissioned me on previous occasions to document events and activities, tasked me with the entry. I produced a conceptual, artistically driven piece weaving original footage with student interviews. The video won. The school received its garden. When the board of directors of the initiative learned that the winning entry had been produced by a student, they contacted me directly.
Escuela Especializada Central de Artes Visuales Winning Video Entry
Early in my career, just after I graduated ahead of schedule, the leader of OPAS commissioned me to produce a video series on coastal conservation and environmental responsibility. Operating under the Instituto de Cultura, this program marked my first paid professional engagement funded through the Instituto de Cultura de Puerto Rico.
Shortly after, a referral from my contact at OPAS led me to Papaya Tropical, a Puerto Rican platform dedicated to feminine sexual empowerment and body autonomy. I began as their event videographer, filming a yoga event for my first assignment. That project evolved into a sustained collaboration from 2017 to 2019, where I handled live events, wellness programming, and various other productions for the organization. Through the network I built at Papaya Tropical, I also began filming weddings and private events via word of mouth, establishing a steady client base in live event documentation.
Environmental Awareness
Environmental Awareness
Live Event
Yoga Event
2018 — Age 18
In 2018, I was contracted by Buena Vibra Group, one of Puerto Rico’s leading marketing and advertising agencies, to produce photo and video content for two of their major brand clients: Blue Moon Beer and Red’s Apple Ale. Working as a content creator, photographer, and videographer, I produced social media content for both brands. This was one of my most significant commercial collaborations to date and served as an early marker of my ability to operate at a professional advertising level.
During this period, I bought my first microphone and audio interface, formalizing a music production practice I had been developing quietly on my own since I was fifteen, when I first taught myself Logic Pro X. Through my ongoing work directing and editing music videos for independent artists across the island, I spent increasing time in recording studios, building relationships with producers and audio engineers, and deepening my understanding of the music production world from the inside.
By 2019, my work had expanded across more fronts than ever simultaneously. I continued producing and directing music videos for independent Puerto Rican artists while also appearing as an extra on various film and television productions on the island, gaining first-hand experience across a range of production scales and formats. Late in 2019, I appeared as an extra in a music video for Natalia Lugo, the Puerto Rican singer-songwriter, actress, comedian, and media personality known for her viral presence and following of over 400,000 across platforms.
Blue Moon Beer
Redd’s Apple Ale
Wine Tasting Event
That summer, before my official musical debut, I presented my original music publicly for the first time on Puerto Rico ¡Gana!, the prime-time Telemundo Puerto Rico variety and talent show. This was the first live musical appearance for my project ahead of its formal launch.
In October 2019, I officially released my debut single, "Estela," featuring artists Andregutti and Llochobo, accompanied by an original music video I directed and edited myself. This release marked the beginning of my artistic career as a performer and recording artist. Following "Estela," I went on to release eight more self-produced singles and music videos over the next three years as I continued to deepen my knowledge of music production.
In August 2019, I was hired by internationally recognized street artist Alec Monopoly, who maintained an active studio in Dorado Beach at the time, to serve as his personal videographer, vlog editor, and YouTube channel manager. I edited long-form content at his studio, created graphic and brand assets for his channel, and managed his full post-production pipeline.
Later that year, Monopoly invited me to travel to London to document a live event collaboration with global apparel brand Flannels. I filmed the entire trip, edited the footage on location, and uploaded it directly to his channel. During this period, I also produced video content for his then-partner, Alexa Dellanos—the model, influencer, and media personality—covering fashion and lifestyle content for her YouTube channel.
Following the release of "Estela" in 2019, I continued to expand my portfolio by producing and releasing self-directed music videos for my singles "Vendaval," "Vendaval (Acoustic Version)," and "Alguien," working closely alongside producer Aurel Luna.
It was during this period that I coined my style as "perreo celestial." This sound emerged as a fusion of ethereal, heartfelt, and cinematic instrumentals—drawing inspiration from the atmospheric qualities of artists like Lana Del Rey, Ellie Goulding, and Rosalía—blended with the urban grit of old-school reggaeton and dancehall. Infused with dark undertones that allude to my father’s rock influence, this era was a definitive exploration of how I could marry high-art aesthetics with the raw energy of the genre.
2020 — Age 20
I continued working with Alec Monopoly into 2020 until the COVID-19 pandemic brought productions to a halt. In the summer of that year, I was contacted by Claire Delic—the singer-songwriter who was then preparing to release her debut original music. She commissioned me to direct her first official music video for the single "No Te Voy a Ver."
Given the constraints of pandemic-era production, I took full ownership of the project. I conceptualized, storyboarded, directed, produced, and filmed the piece, while also handling set design, lighting, and styling. I edited everything from the main video to the promotional teasers and brand assets—all over five days on set with a minimal crew. The video was released in August 2020 and has since reached one million views.
Delic - No Te Voy a ver 1M Views
2020 — Age 20
In October 2020, I performed the original theme song for La Garra del Guaraguao, an independent Puerto Rican feature film directed by Vicente Castro and produced in Utuado, Puerto Rico, which premiered in 2021.
2021 — Age 21
In early 2021, I worked as a focus puller on the production of Domirriqueños 3, a feature film directed by Eduardo “Transfor” Ortiz and featuring media personality and radio host Molusco. Throughout that year, I continued working as a freelance videographer and editor for independent artists while deepening my practice in audio engineering and music production alongside producer and recording artist Aurel Luna. I also appeared as an extra in multiple episodes of The Resort, the NBC/Peacock series that filmed on location in Puerto Rico in 2022.
Building on the foundation I laid in 2019, I entered 2022 armed with the advanced production skills and technical knowledge I’ve spent the last two years sharpening. The following years, I pushed my creative limits by releasing more self-produced and self-directed music videos under the artistic name AILA: "Lirium," "Caduceo" (feat. Ramon Ortiz), "Magma" (feat. Aurel Luna), "Quiet Love", “Laberintos” and “Caramellow”. Managing the entire pipeline—from the initial beat and vocal production alongside my producer Aurel Luna to the final edit and brand rollout—served as a personal bootcamp in high-stakes creative management.
During this period, I was still navigating the boundaries of my artistic identity, experimenting with a "mishmash" of influences that ranged from traditional singer-songwriter intimacy and dancehall rhythms to the heavier textures of metal. While I hadn't yet distilled these into a single signature "thing," the process was an invaluable experiment in versatility. It challenged me to see just how many styles I could master and proved that I could successfully operate as my own director, editor, and producer simultaneously.
2022 — Age 22
After completing my basic construction certification through Habitat for Humanity Puerto Rico in September 2022, I was hired by the program as an assistant construction instructor. This role placed me inside a federally funded, highly regulated nonprofit operation, demanding a level of administrative and compliance rigor that was new to me in this specific form.
I conducted daily inventory audits, tracked all materials and equipment, and entered structured reports into Excel to meet federal oversight requirements. I also served as safety compliance coordinator, ensuring participants adhered to protocols during all training activities. Recognizing that several high-risk classroom exercises lacked formal procedural documentation—a genuine liability for a program working with power tools—I developed a set of Standard Operating Procedures on my own initiative. I produced written, step-by-step guides that filled a critical gap the program had not yet addressed. Additionally, I redesigned the physical classroom environment, building custom storage units by hand from leftover carpentry materials and reorganizing the workspace to improve both safety and usability.
2023 — Age 23
In 2023, I made a pragmatic and clear-eyed decision to shift my primary income source toward residential cleaning and handyman services—a move I approached with the same directness I bring to everything. Skilled blue-collar labor in Puerto Rico at that time was genuinely scarce, and the combination of my construction certification and my consistency as a service provider gave me a competitive edge most available workers could not match.
My services routinely went beyond cleaning; I assessed structural issues—mold damage, deteriorating walls, and exposed rebar—and offered clients comprehensive solutions on the spot, including paint stripping, stucco work, rebar treatment, and repainting. I installed shelving, built custom furniture, handled carpentry, and took on whatever was needed. Many of my clients were women who found me easy to trust and recommended me widely. I ran this work entirely on my own terms, as my own boss, and maintained it throughout the year while continuing to produce music and take on freelance video work—because I never fully stopped doing either.
In October 2023, I created a mashup blending “Cry Me a River” by Justin Timberlake with “11 y 11” by Sech and Tainy. The mashup caught the attention of BeatClub—the global music platform founded by legendary producer Timbaland. It was featured on BeatClub’s official Instagram and subsequently reposted by both Timbaland and Tainy on their personal stories, serving as an extraordinary moment of recognition from two of the most influential producers in contemporary music.
The following month, in November 2023, I was officially onboarded onto the roster of Songfinch, a leading U.S.-based platform that connects professional musicians with clients seeking custom-written songs. Songfinch had only recently expanded into Spanish-language offerings—an opportunity I had anticipated, having applied two years prior in alignment with that vision.
This move catalyzed a profound shift in my creative output and mechanical efficiency. While I had previously written for myself and independent artists, the platform’s high-velocity demand served as a professional bootcamp, sharpening my pen and production speed to an elite level. To date, I have composed and produced over 250 custom songs, maintaining a pace that often requires the writing, recording, and mixing of up to seven unique tracks in a single day during peak seasons like Valentine’s Day. This volume transformed my process into a flow-state of spontaneous improvisation and "right off the bat" rhyming, allowing me to deliver high-fidelity, polished tracks in under two hours without compromising quality.
Within the Songfinch ecosystem, I have carved out a distinct niche as a premier bilingual and "Spanglish" specialist. My ability to navigate mixed-culture narratives has made me a top choice for multicultural families seeking a bridge between linguistic worlds. My sound—a sophisticated blend of deep house shimmer, syncopated Latin rhythms, and melismatic, global phrasing—resonates deeply with a diverse clientele.
I have become a preferred creator for Arabic-American and international clients, who seek out my melodic structures and Carnatic-influenced phrasing over standard acoustic tropes. This unique positioning at the intersection of world music and modern pop ensures my work is not only catchy and danceable but culturally resonant across global borders. My acceptance onto the platform marked my first consistent source of remote income as an artist, opening the door to a more sustainable creative path.
2024 — Age 24
In 2024, I further diversified my professional portfolio by completing rigorous formal interpreter training with Lionbridge and Propio, two global leaders in language services. I earned specialized certifications in HIPAA compliance, privacy protocols, and Medical Terminology, Anatomy, and Physiology.
Expanding beyond standard Over-the-Phone Interpreting (OPI), I qualified as a Video Remote Interpreter (VRI), providing high-fidelity, real-time Spanish-English translation for medical and professional environments. This role requires not only linguistic mastery but also a deep understanding of governance, risk, and data privacy. Throughout this period, I have successfully balanced my high-volume production roster at Songfinch with my responsibilities as a VRI and OPI specialist, demonstrating a unique ability to operate at the intersection of technical compliance and creative communication.
2025 — Age 25
When I pivoted to cybersecurity in 2025, the shift was not purely academic. I began applying what I was learning in real time, collaborating directly with my uncle, Michael Salwet—founder of Novasol Enterprises and a seasoned product builder whose career spans roles at companies like Blockdaemon, BIGtoken, and Leap Theory. Through Novasol, Michael builds SaaS products and web-based tools for early-stage tech ventures.
I joined him as a junior compliance analyst, putting into practice the GRC frameworks I had been studying. I conducted privacy impact assessments, applied governance and risk principles to his products, and built out the compliance infrastructure that growing tech startups need but rarely prioritize early enough. It was my first formal foot in the door of the cybersecurity industry, and it was entirely earned through applied knowledge and real-world execution.
Salwet — 2026–Present
In April 2026, I officially launched Salwet as a fully realized creative agency—the framework that had been quietly taking shape for years finally given a name, a structure, and a home. Salwet is the product of a genuinely multi-disciplinary career, built from the ground up across filmmaking, music, web development, compliance, construction, and design.
It exists because I am, at my core, a synthesizer—someone who has spent my entire working life moving across domains and finding the connective tissue between them. Sálwet is what happens when all of those experiences finally live under one roof.
What makes Salwet possible in 2025 in a way it simply could not have been a decade ago is artificial intelligence. I am candid about this—not because it diminishes what I offer, but because understanding it is essential to the value I provide. For most of my career, the breadth of my knowledge outpaced the speed at which any one person could realistically deliver across so many domains. While multi-disciplinary minds have always existed, AI has finally given me the infrastructure to work at the speed I actually think. The repetitive, time-intensive tasks that once required entire specialist teams—formatting, templating, drafting, and iterating—I can now delegate, freeing me to do what I have always done best: synthesize concepts across fields, make strategic decisions, and deliver work with genuine human intelligence and creative vision at its center. AI removes the bottlenecks that would have made the scope of Sálwet unthinkable in any previous era.
This is also one of the core services I offer my clients. Working closely alongside my uncle, Michael Salwet—founder of Novasol Enterprises, a veteran product builder, and an expert in vibe coding and AI-powered MVP development—I bring both the creative instincts and the technical literacy to help artists and independent brands integrate AI into their workflows without losing their humanity. My goal is never to let AI hollow out a brand’s identity; it is to use AI to protect the parts of the work that actually require a human brain—the vision, taste, and emotional intelligence—by automating everything that doesn’t.
At its core, Salwet serves independent artists and creative professionals who are tired of subcontracting a different specialist for every need. I work with clients one-on-one, beginning with a comprehensive audit of their entire career, brand, and digital presence—and then I do the work myself. I don't delegate or template it; I build it. I offer custom web design with hand-coded CSS, SEO optimization, graphic design, content strategy, video editing, music production, and contract creation. My background in compliance ensures that cybersecurity is built into my web work from the start, and my expertise in AI tools provides a human-centered framework for amplifying a creative brand rather than flattening it.
Salwet also extends well beyond the creative agency, with several major areas currently in active development:
Salwet Spaces: I am developing a suite of minimalist floor plan offerings for property developers. I am targeting a market gap for remote workers and young couples who want a small footprint without compromising on quality of life. My designs prioritize natural light, airflow, and luxury in compact square footage, such as my flagship triplex floor plan designed around the logic of a family compound.
Salwet Systems: This branch is dedicated to health and lifestyle insights. My primary project is a medical tourism service for those dealing with Class II deep bites and collapsed dental biomechanics. Having navigated this journey myself through a protocol that transformed my posture and facial symmetry, I now coordinate access to these transformative treatments in Buenos Aires. I am not a licensed dentist; I am a guide who connects others to the frameworks and resources that helped me solve a complex problem in my own body.
Cybersecurity & GRC: I am building a body of work centered on Governance, Risk, and Compliance as I complete my studies at Teclab. I document my expanding knowledge of how AI-powered tools interact with data privacy and risk assessment, providing a point of entry for SaaS startups and creative businesses seeking foundational compliance support.
Kinship: My most ambitious project, developed with Michael Salwet, is a human-centered social media application. Kinship is a radical alternative to algorithmically driven platforms, designed around user wellbeing and nervous system health. It draws from the best of visual and conversational intimacy to bring people back to presence. Built with the efficiency of AI, Kinship is designed to give attention back to the user rather than extracting it.
Taken together, Salwet is the most honest expression of who I am: a person who works across multiple domains simultaneously and brings the same rigorous, hands-on intelligence to a floor plan or a compliance audit as I do to a music video or a web build. AI has simply made this range visible, finally giving my work the infrastructure it deserves.