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.
“The Bleeding Countess series” is my choice (the first six pieces shown in this profile are part of it). Size and format may vary from piece to piece, and oil on canvass is the technique. This piece of art comes from the book The Bleeding Countess (La condeza sangrienta) by Valentine Penrose, which tells the story of a countess that takes baths in virgin maiden’s blood to preserve her youth and beauty. Out of big stories, I always find myself interested in little details: the white dress that becomes red; a woman cut into pieces, closed up in parenthesis apart from everything else that has existence. White establishes an edge: the possibility of getting stained. These pictures, just as the countess, take place somewhere in between white and red.
2. In general terms, how would you suggest to approach your work?
I read somewhere, that art is always an invitation to solve a police enigma; it is formed by stolen pieces, just as Frankenstein’s creature. Therefore, I don’t think the most important thing would be, in this case, dismantling the art piece to solve the enigma, but to remain in this suspense state of mind. Like watching a movie, for example: ‘Audition’, where nothing happens, except for some detail now and then.
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?
From the gothic aesthetics, the vertical architecture, taking you down into something dark and fascinating, and the cult in impure and stained beauty as well. From the pre-Raphaelites, Ophelia. Virginia Wolfe’s own room. Hooper and Vermeer’s cut composition. From David Lynch, the way of narrating. From Alice in Wonderland , her constant incapacity to meet with things, and also when she drowns in her own sea of tears. From Tim Burton, everything. Alejandra Pizarnik’s search for exact a precious words, and the crazy queen too. From Antonio López, the craft of painting. From Jane Eyre, the crazy woman locked up in the attic. From the romantics, the lack of control. From XX century women artists, intimacy. From Mercedes Pujana, the childish secret that always is forgotten…and details!! From Art Nouveau, the evil and perverse women surrounded by flowers. From fairy tales, everything. From Japanese thrillers, languid and suspended beauty. From Santiago Iturralde, his world of color and amazing ideas. From serial killers stories, the crime scene. From beings in love with their own anguish, melancholy. Form Niki de Saint Phalle, the giant doll that is full of entertainment to visit.
4. Choose works or exhibitions from the last ten or fifteen years which in your opinion were very significant and explain why
León Ferrari’s exhibition the Recoleta Cultural Center (Buenos Aires, Argentina) and the following audiovisual intervention at the Recoleta cemetery Social reunion [Loud social meeting]). They were both considerate provocative by some visitors, and woke up some discussions. These are two examples that show the powerful media that art is.
5. What tendencies or groupings from common elements do you see in argentine art of the last ten or fifteen years?
I don’t really know. If I answer this question it won’t be in an enough serious way (a very subjective answer). Truth is, I don’t really think too much about trends and tendencies… not during my own production or while looking at other’s work. I try not to get distracted or influenced by this kind of things.
