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.
Chosen piece: 'the donkey and the pig' in all version. They are two little plastic animals absolutely discordantly in their sizes, that I obtained once in one opportunity in a haberdashery at the hospitals zone (Rosario). At this shop window there was a bowl full of these little animals and other beings, all plastic and non affiliation. When the unkind woman emptied the bowl over the counter glass: the donkey and the pig stayed together, calling my attention. Finally I choose three pigs and the donkey, although the original couple was always composed by the same two: the donkey and the pig. We've never been separate since then,, I made pictures with them, digit graphs, video, drawings (inks and graphites, collages, stencil, etc). I exhibited them live in a showcase, no, in two showcases, creating them the exhibition 'the couples' (year?) what gave own and not own photography. They go with me in all my trips, sleeps by my side, ensuring the edge of my dream and always pokes, even in the darkness of Marta's kitchen or over an enormous glass table on an eight floor at Lafinur street. They have remained standing on terraces outside, between winds and antennas and cables. Atahualpa Yupanqui had lend them his guitar for 'The quiet earth (appearing)' video – Bs.As., 2005 – second version of an lost in technology idea which is so tyrant as kind. Both of them gives me an amulet tranquility when ensuring my complete work. After them were buzzards, cows, oxen, llamas, gorillas and rams. The donkey and the pig illuminates my being.
2. In general terms, how would you suggest to approach your work?
My work is vast, not baroque. I'm baroque in my being and in my daily life, my way of talking. The work is supported from various formats and medias, techniques and aesthetics. Always poetry. The possible readings given or exerted over the work are infinites. There are pieces that I show and done, without words, maps or drafts. Others, the majority, is accompanied by texts, concepts or simple accounts which helps the complete of the work. It can be read as it is shown: you see: you read: is a piece. The only thing that moves me to create and execute it is the eagerness for seeing the results of my experiments. The fact that one work doesn't exists before and I had the wish for seen it in the world. I don't think me doing any good to humanity paintings my paintings or showing my animals, drawings or words. All is provoked by my motley vanity which mobilizes my brain, it creates.
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?
My place in the contemporary art world is varied: a) posthumous author. b) rumor. c) cult author (in life). d) limited resources author (infinitely limited). e) nocturnal insomniac. f) tireless reader. As referents I think in Alberto Greco and no one else. I find enormous influence in some films, in some animated cartoons, some music, TV series, specially those of the late sixties and seventies, they've told me pieces. The works that I submit myself everyday, the non love and love that I receive or give. Roberto Arlt's, Onetti's, Puig's, Piglia's. Juan L. Ortíz's literature illuminates me. Joyce and Beckett and Cèline would take me a complete volume so I will just mention them. Joe Strummer's word (The Clash) with the guitars and rhythms of his partners gives me pieces, tranquility and work, essence. The old books that composes my bizarre book collection, the 'Savat big themes' collection, the 'I know it all', the maps and traveler books (baedeker) and views of the world, Miguel Rep, 'Kiling' and all Alberto Breccia (from the 'little pocket' collection by Abril Editorial – late '50 – till the most sordid 'A certain Daneri''s episode, passing through the 'Fierro' magazine – late '80 - ). The many periods and diverse 'pigs and fishes' epics calms me down, it helps for being in the world, many times. All of them are source of blood for my brain. I don't want to not mention Mister Patrick McGoohan and the best play ever produced for global TV: 'The Prisoner' (1967/68, ITC, England). The judo books that I give as a present to Renata also gives me work (for a piece). The ugly pictures of my father, beautiful, gives me text, raw work. My daily work (painting houses) allows me to enjoy the own silence many hours a day. That makes to lucubrate work. Following a job I did in a Catalan restaurant in Rosario I found the stencil and its beautiful past in time aesthetic. The furious contrasts to a single ink, to say formless forms with a cutter on PET and then see James Joyce's face on the wall of my laboratory or a Renata's smile at the closet door or the old Hitchcock's bowler hat in some park monolith. I'm diving into that technique and I'm now focusing my paintings from there. Well lacquered woods with synthetic enamel receives the color spray stamps. I'm working on a portrait series of young Argentinean painters, I've already made Alberto Greco's who prays for us and the young Augusto Schiavoni. I've made like a cryptic scene with them and Joe Strummer and two Phil Davis's pigs ('mandrake the magician') and Ignatz the mouse ('krazy kat', George Herriman) in a very sweet and Chinesco heaven-earth-hell where I serve a late Satan, stencil gives me a lot of satisfaction.
4. Choose works or exhibitions from the last ten or fifteen years which in your opinion were very significant and explain why
Exhibitions which left me something I can mention: Augusto Schiavoni in Castagnino 2005, impeccably curated by Maria Spinelli; Silvia Lenardón with 'Cheers Schiavoni!' (magisterial lesson of how to play a cover in painting) at Castagnino; Matías Duville and 'Car cinema' at Macro 2005, incredible to see how somebody draws the interior of my mind. Then there is the Porter and her magic at Castagnino and some things by Herrera at Pam Passage. Among others things that I forget.
5. What tendencies or groupings from common elements do you see in argentine art of the last ten or fifteen years?
The groups are always wart and a little miserables, with trade and spiritual and talent speculation. I was felt being a swimmer, diving the depths of the arts ocean, surrounded by fishes and beautiful algae, harmful, benevolent. On the other hand I' m unaware about the 'isms' which can be in vogue in the national arts, I like being an ignorant about that and work in most complete and clean universe of creating pieces because of the beautiful fact of seeing a created piece. A big fascination is produced in me when I seat for three or five hours to draw. To place the table, music or TV, to point my pencils (beautiful weapons of arts) and empty papers and draw, never ending. A few months later revisit those graffiti to re force their ink, seeing a new piece. Also persecute an elusive concept for days till I find and talk with it for creating a painting or an exhibition at the Pam Passage together. I love to make stencils in my own wall or in the park's monolith with Renata and her short enormous height and her short years so fully of arts and laughs and her painter tunic and my pipe and the swings. The paintbrushes graces me, the color glues, the cutter, the spray can. The trees give us birth, they rock us. Collecting unused boxes or old stickers gives me grace. The absolutely useless objects draw me like a human being. C) María Ilari, Javier Vercelli Corleone, Carlos Herrera, David Nahón, Eugenia Calvo, Fabricio Caiazza, Martín Kovensky, Alfredo Prior, Virginia Masau, Guillermo Fraire, Julio Benavídez, Roberto Jacoby, Silvia Lenardón, Flavia da Rin, Max Cachimba, Matías Duville.