In 1975, due to a miscalculation, I was born in Buenos Aires (I should have been born in Uruguay).
I grew up quite happily in a much more friendly place than the capital city, in an environment full of green, with mud streets... the colors and the light were always on my side.
From the beginning my artistic bent was clear, but when I started studying, I was appalled by the social pressure and I took another direction, to assume four years later the inevitable path.
From the age of 23 to 30 I had a varied education, focusing on sculpture and photography (Prilidiano Pueyrredón Fine Arts School –Buenos Aires–, La Massana –Barcelona– and Institute of Photographic Studies of Catalonia –Barcelona–). In parallel my interest in the textile world grew, and today I find myself increasingly working with this element.
I taught photography to students of Fashion Design at UBA since 2007.
I exhibited collectively and individually in several countries (Argentina, Uruguay, Spain, Italy, Japan).
I won scholarships (in Spain and Australia), which have encouraged me to learn and spend money –when I have it– in photographic film and in the reveal process. Photography also helped me to travel a lot and to know places I had never dreamed of.
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.
“Interior Landscape # 2” [Paisaje Interior # 2] is an analogue photography, of medium format, with an experimental process that combines color with black and white (black and white negatives were treated with a chemical that corrodes the emulsion and then they were hand painted in certain areas; the images were finally enlarged with color process).
This is a series of still-lifes, which I created with scenarios. These interior landscapes, as I call them, contain objects that have emotional value for me, and formed part of my life in a given period. They were linked to an event or a specific person, and they move me in time towards that object-person-scene link.
The creation of these scenes was an attempt to retain some form of temporality that has already past.
This series could be framed in the Magic Realism. The chosen treatment suggests that the scene is not of this time, although contemporary elements can be found.
2. In general terms, how would you suggest to approach your work?
I do not pretend that my work is read in a certain way. Each one can create a link to the image so that it creates something internally.
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?
Within the national scene I feel identified with the work of Alessandra Sanguinetti, Liliana Porter and Fabiana Barreda. In an international scene I am interested in the work of Loretta Lux, Sally Mann, Ana Mendieta, among others.
Magic Realism and the poetic document are two elements that strongly represent my interests. It was the Land Art before.
4. Choose works or exhibitions from the last ten or fifteen years which in your opinion were very significant and explain why
In recent years, what I liked most to see in Buenos Aires was the moment when the exhibitions went outside the gallery, and went directly to the distracted pedestrian. I have seen this in the garden of the National Library and in San Martín Square. In this way, art is no longer for the elite and becomes art for everyone.