Born in Buenos Aires in 1956. She lives and works in Mar del Plata.
Of all the exhibitions that I did, the ones that interested me the most were "De rosas, capullos y otras fábulas" (Of roses, buds and other fables), at Fundación Proa and curated by Victoria Noorthorn (2005); "Caja de música" (Music box), an installation I did at Baltar Contemporáneo, in Mar del Plata (2004); "Hojas para" (Sheets for), the project I did for Trama, coordinated by Pablo Siquier and Anne-Mie van Kerkhoven (2003); "Certeza del abedul que se creía libro" (Certainty of the birch who thought himself a book), an installation at Lelé de Troya (2003), an installation at MOTP - Mar del Plata (2002); the exhibition at Belleza y Felicidad (2000) and "Unplugged", at CC Victoria Ocampo, Mar del Plata (1998)
Studies: Visual arts professor, Escuela Martín Malharro, Mar del Plata. Workshop of work production and analysis (1998/2000), Fundación Antorchas and Fondo I. de Arte Contemporáneo.
Skills improvement grant, Fondo Nacional de las Artes (2001/2002), tutored by Claudia Fontes.
It is since I first met Claudia Fontes that I began thinking my works as a project, and installation appear to be the most suitable mean for expression.
The paper as a trigger (fragility, marks, the passage of time), poetry and text as an image that is present within my works.
I'm interested for the work of art to take some kind of risk, that the ink may dissapear in contact with the light, that pieces of paper may be torn as they are handled, that sheets may be stolen as they are exhibited, that blackboards be inevitably cleaned out.
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 installation I did at Lelé de Troya, called "Certainty of the birch who thought himself a book", back in 2003. I started out tearing apart the bark of a tree, during the period in which trees "change their skin". The texture of the birch is like a piece of writing, and I went on grouping together and cleaning this material. In a parallel way, I wrote poems, printed them on black and white sheets and sticked adhesive tape to them, so as to tear them off later. I was interested in the remaining text, sometimes broken or almost unreadable. At a certain time, I looked at the adhesive tape that I've used, and they were as curled as the bark of the tree that I'd torn apart. So I grouped all of those texts. It was like saying "I had found them". The work consisted of placing all that 'skin' on the wooden floor in Lelé de Troya, the window was open and so some leaves from the trees of the street slipped in. The installation also included 12 sheets of paper on the wall, in 3 lines of 4 each. I was very interested in the process itself because I thought my work was going in a certain direction, that of the torn off paper, but it turned out that the scraps ended up being the most important thing. The relation between the different materials, the collection time and the thin line that connects wood-paper-leaves.
2. In general terms, how would you suggest to approach your work?
I believe that people approach my works (when they do) to read a certain text that may be a poem, the name of a poet or artist or see, within the diagrams, what is it that I am pointing at. But it is not that I suggest that approach. I just have seen it happens.
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 points of reference: Liliana Porter, Cy Twombly, Charles Bukowski, Duchamp, Borges. I'm interested in León Ferrari, Brígida Baltar, among many others. I'm very bad with names.
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 in the CC Recoleta I think it was amazing. No need explaining why. An exhibition by Carlos Gallardo also in the CC Recoleta, back in the 1990s. It had two frames as walls with (I think) ID numbers that were reflected onto a very big water pond. I thought it was intense.
5. What tendencies or groupings from common elements do you see in argentine art of the last ten or fifteen years?
I think there are actions that unite us; appropriation is one of those actions. I see a sort of unfolded network made of ideas, out of some of which, we artists connect. Then, there would be very similar works of art from artists who don’t even know each other. I’m included, but I see this as a favorable characteristic (when it is not a rip off, of course). During an exhibition of visual poetry done in the Espacio Giesso, of which I took part in, I bumped into a project by some American artist that was an exact replica of one I had once made. I swear I did not know such an artist, and there is no possible way he could have known me. I liked this to happen. Ideas go with the flow and that’s the way it is.