Biography
She is a Bachelor in Arts for the Universidad Nacional de La Plata, and has specialized in Scenery, though she prefers the term 'Spatial Scenic Design'.
She attended numerous painting, photography and work analysis workshops with artists like M. Girón, G. Breyer, D. Dowek, E. Sirlin and J. G. Le Cat, as well as classes on the heuristics of scenery. She has also studied piano.
She currently attends the "Techniques and Logics of Form" postgraduate course which is dictated in the Architecture School of the University of Buenos Aires. She has been selected by Proyecto Limbo for her work called "Develaciones II" (Revelations II). She has taken part of the MIX 05 exhibition in Proa, with her work "Develaciones I". She has made many Spatial Scenic designs, costume and light designs.
She currently participates on the Sparring Girls project together with Uschi Groppel, Carolina Senmartín and Silvia Pérez.
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.
I choose the work called “Develaciones I” (Revelations I). This work was exhibited in Proa Mix 05. I choose it because it is the work of mine where many of my varied interest converge. In it, I set to make it evident, by means of the subtlety of light, what mankind, in its vertiginous existence forgets to witness. In five sceneries, a stopped narration, without timing and very few dramatic elements, a source of light, a ploane, a body. “Revelations” is a mise-en-scéne where the action of a body going through a plane causes a transformation. The light shows that violent penetration, a violent full of sensuality. Just a beam of light is enough so as to stop and show that moment in which something happens. The light stops the action by randomly deconstructing the movement. Such a movement from the viewer is the one that makes the idea of time and the complete narration appear.
2. In general terms, how would you suggest to approach your work?
The reading of my work can be done by means of different entries. I objectively work with very primary, basic elements, that allow a multiple interpretation. I’m interested in not guiding the viewer into such, but let him or her be the one to come nearer, stop and finish the discourse up. My oeuvre is completely autobiographical, based on personal experiences. There is a sense of narration that goes through my work, but metaphores are put by the viewers: it is a work that needs to be contemplated. The Other is the one who gives aditional meanings beyond the present material. He who contemplates it is a collaborator that provides meaning to my work.
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?
Some artists that interest me, and not necessarily because I consider them to be direct reference points are Angela Bulloch, Jesús Soto, Ilyia Kabakov, Ligya Clark, Hiroshi
Sugimoto, Dan Flavin. Of previous generations, Malevich, Rembrandt, Odilon Redon. Minimal art would be a tradition in which I would recognize myself, so are comic books and Meyerhold and Peter Brook’s theatre proposals.
