I was born in Buenos Aires in 1975, and since I was a boy I would constantly dedicate myself to painting and drawing. Afterwards I had the fortune of meeting Juan Pablo Renzi, who enlightened my way. Already on the lookout, I studied with Viviana Zargon, and some time later (already as a career), I studied at the Pueyrredón school. Later, I was awarded a scholarship to finish my studies at the San Francisco Art Institute, where I was really shaped as an artist and as a person.
Among my shows I would highlight my first group show: “Buenos Aires Joven” (Young Buenos Aires), at the Centro Cultural Recoleta, 1994, my first group show abroad: “Artistas Emergentes”, at the Mission Cultural Center in San Francisco – USA, 2001, my first conceptual show: “Pedestrian Impostor”, at the Galería de la Raza in San Francisco, USA, 2002, my return to my country: “20x20” at the Praxis Gallery, Argentina, 2003), and my last solo show in Buenos Aires, “La Pathosformel del Ser”, at the Masotta Torres Gallery, Buenos Aires, 2008).
Vision of art
1. Choose a work that represents you, describe it in relation to its format and materiality, its relation with time and space, its style and theme; detail its production process.
Ever since I have a memory, looking at the skies is my favorite “sport”. There are never two alike, never the same colors, never the same clouds, never the same nights. To look at them is to know oneself finite, and yet, that is where my being lies. I am a city man. My skies are constantly cut short: cables, antennae, buildings…all kinds of human work intertwine in them. Far from not fitting in, this mesh fulfills. To me, each cable, every antenna is as unique as every cloud, as is every night. The finitude of the observer makes infinity possible. It does not frighten me; it comforts me. Therefore, I seek to express that unique side of daily life and of the relationship between human and natural structures. I have tried to recreate this relationship between the human and the natural from an aerial perspective, where human and natural landscapes are merged forming a single landscape, a single form. Moreover, from the air I began to recognize amongst these human-natural forms diverse anthropomorphic icons from different cultures. But, paradoxically, these anthropomorphic images seen from high above turn out configuring a new icon, a synthetic cultural landscape. I suspect that cultural difference might only be the result of the distance between the observer and the scene. In my last series of works I have tried to unveil a polymorph and polyvalent culture, where the hegemony of the West is neither total nor absolute, where the cultures of the past that were damaged, disintegrated, buried (such as the Mesoamerican, Egyptian or Greek-Dionysian) still survive an coexist with capitalist modernity. The idea is to discover this civilization, perhaps already present, perhaps yet to come. The re-construction of that civilization comprehends various levels of analysis: on the one hand, we must explore the information pertaining the cultural mythology of that society: its gods, myths and symbols; the story of “The Gods”. On the other hand, we must study everyday existence: its habits, needs and customs; the story of “The Days”. And completing this triad, we must glimpse at the twilight of this civilization. How shall it come to an end? Which will be its causes and consequences? The story of “The Remainders”.
2. In general terms, how would you suggest to approach your work?
I do not find it fair to propose a form or reading (either to the spectator or the work). The plurality of readings and interpretations is precisely the most interesting aspect that a work or artistic action may contain.
3. In reference to your work and your position in the national and international art fields, what tradition do you recognize yourself in? Who are your contemporary referents? What artists of previous generations are of interest to you?
I mainly identify with the German expressionist tradition, out of which I specifically highlight Schiele, Beckman, Kiefer, Immendorf and Lupertz. Closer to the heart, but also to my more personal tastes and less aligned with other artists and tendencies are Bosch, Caravaggio, Cándido López, Xul Solar, Berni and Juan Pablo Renzi.
4. Choose works or exhibitions from the last ten or fifteen years which in your opinion were very significant and explain why
As the citizen of MERCOSUR that I am, I will choose the “Soul & Body” retrospective on Brazilian art that was made at the Guggenheim Museum of New York in the year 2002. I am choosing it because, aside from being the best curated show I have ever seen (by Edward J. Sullivan) it was, I believe, the only show that accomplished not only to surprise me but also to delight me in a unique, profound and true manner.
5. What tendencies or groupings from common elements do you see in argentine art of the last ten or fifteen years?
I leave this blank.