Born on September 21th, 1980. She currently lives and works in Buenos Aires. She has graduated as a Painting professor at the Escuela de Bellas Artes Prilidiano Pueyrredón. Attended the resin sculpture workshop given by Miguel Harte, and seminars by Rodrigo Alonso, Julia Masvernat, Eva Grinstein and Mexican artist Pablo Vargas, at the Museo de Arte Latinoamericano de Buenos Aires (MALBA), among others. She currently attends Diana Aisenberg’s workshops and works in collaboration with other artists in projects such as artechacra.com, KDA, and participates on the Portela 164 group of workshops, managing exhibitions and collaborating with new forms for the diffusion of contemporary art. She was awarded with a grant by the Fondo Nacional de las Artes in 2007.
In 2005 she did an individual exhibition of paintings and drawings in Ruth Benzacar, as a winner of the Curriculum 0 contest (2004).
She has exhibited her work in the CC Rojas (1997), Belleza y Felicidad (2000), Museo de Arte Contemporáneo de Santa Fé (2004), MALBA and Museo de Arte Contemporáneo de Tucumán (2005), CC Borges and Proyecto A (2006), CCEBA (2007), among others.
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.
A work that represents me would be the one used on the cover of the catalogue for "Edificio" (Building), an exhibition in Ruth Benzacar (2005). It's a painting using different techniques, measuring 1 x 1,5 m. Painting is not "the" technique that represents me the most, but the pictorial idea, its creative process, generated many revelations and convictions that also represent my overall relation and attitude towards works of art. It marks the elements: a leading contrast and different secondary accesories that highlight or complete a scene. Narration is always present, even if the story is hermetic or simple. This work has the geometry that forces an unreal environment, and an almost organic fluid of that other matter that I call 'spot'. That spot or stain is a presence that bears such a slow timing that it is, at the same time, stopped and flowing, as clouds do. I connect it to a time of reflection, of wait, of something one does not know where it comes from or where it is going. Mi themes are sentimental life, loves, failures, subtle details of love relationships, the erotic game of insinuating without mentioning. Themes are fogged with capricious symbols and stopped time is all a revelation. My style mantains the contrast variables, feeds from them, though these may acquire different, incomparable forms between my works. The production process is the result of an idea, a mutating feeling that reveals itself as a door that leads to a new idea, a new way to understand the world, a link. A healing process. The scene is set, and so the spot or stain comes in last. Its part is not foreseen, but the opera does not finish until the fat woman sings her part.
2. In general terms, how would you suggest to approach your work?
Above all, an open and pacient attitude, willing to follow the strange tale, listen to the materials as much as listen to the forms and shapes. Not being satisfied just with the first work seen. Sniffing would be a way, but I think it would be a way to any work of art. Truly, it`s the way I approach any work, my works and others.
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?
If we are talking about traditions, I don't see myself as a member of any of them, I cannot keep that long. Trying to go beyond is a rule of my production. Among my reference points (for their works, or just out of mere fascination, without taking into consideration their contemporaneousness), I would name: Metaphysical painting (the De Chirico brothers more than anything), Roberto Aizenberg, Jorge de la Vega, Rauschenberg, Perejaume, Francis Alys, Louise Bourgeois, Vanessa Beecroft, Duchamp, Hockney, Thomas Huber, Koen van den Broek, Jeff Ladouceur, Gabriel Orozco, Wayne White, Barbara Krüger, Diana Aisenberg, Alejandro Puente, Liliana Porter, Daniel García, Miguel Harte, Horacio D`Alessandro, Sartre, Hesse, Octavio Paz, the theatricalness of "The lamb lies down on Broadway", by Genesis, Mazakazu Katsura, among many ohers... The history of art is the main feast, though most of this stuff I knew from books, art reproductions... I think this adds a special touch to it. The history of art in picture cards, zapping, anime, soap operas and 'serious stuff'.
4. Choose works or exhibitions from the last ten or fifteen years which in your opinion were very significant and explain why
Regarding my limitations, and mixing those that were significant to me personally, I think I'd go for those retrospective exhibitions in MALBA and its contemporary exhibitions, because I think they are important to our history. The Bruzzone collection seems to me another succulent feast with a lot of history behind (I don't understand why there aren't scholarsor students doing something out of that material, record, exhibition, whatever). The huge exhibition of Brazil's rediscovery impressed me in terms of production, with its three modules. Also Liliana Porter in the CC Recoleta. Harrods - Estudio Abierto caught my eye as something that could have been but eventually was not. Also regarding this question, I think of artists that are not that important right now but that, I think, have all what it takes to be so in the near future: Vicente Grondona, Ignacio Valdez, Rodrigo Vazquez, Sandro Pereira, María Ib;añez Lago, Octavio Garabello, among others, because I was luck enough to get to know their works and, more than anything, their processes and mechanisms, always fresh, authentic and incredibly surprising.
5. What tendencies or groupings from common elements do you see in argentine art of the last ten or fifteen years?
I think that, within the contemporary artists, the idea of management comes very naturally and fits very well into alternative or group projects. In terms of works, a lot of drawing and painting. Many fingers in behind and rabbits. And something very important that I have not see in other countries: a lot of affection in the relations and works, an almost fraternal care. I wouldn't know how to explain this, but it is just there. There's also a lot of crap going on, bad energy, but I'm highlighting those tendencies that I sense as being positive.