I was born in 1968.
Although I was born in Cordoba, my early memories set back in Mendoza, where I lived with my grandparents, both writers. As a child, I was the typical spoilt girl surrounded by adults in all kinds of meetings, exhibitions and book presentations.
At that time, I frequent my aunt Eliana Molinelli (sculptor), who oozed art.
My grandparents had a studio full of solvents smell, wood paper and sealing. At the age of seven I came to Buenos Aires to live with my mom and because of her work I occasionally met many artists. Once again I had direct contact and free pass to the workshops and exhibitions of masters such as Berni, Gorriarena, Keneth Kemble, Dalila Puzzovio and many more.
So when I had the appropriate age and recommended by Carlos Gorriarena, who had given me my first crayons, I was under the tutelage of my sculpture teacher Roberto Fernández. I remember entering his home and being surprised to find the empty clothes, which later will provoke my worship in one of my visits to the Recoleta Cultural Centre. Later I graduated from the College of Creative Advertising, where I studied painting for a couple of months with German Gargano.
I would like to thank my friend Dani Vega for inviting me to participate in Bola de Nieve.
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 chosen work is MARLENE. She has of me that that no one has. My soul, my wishes and my obsessions. It refers to a voluptuous, perfect, prototyped woman that ends up reduced to a transvestite for that same obsession of wanting to represent a woman. I love pearls because they are clean, translucent, fake, cheap, docile, friendly, feminine, glamorous and super atom. I hate any element that sticks to my hands even though I use them every now and then.
2. In general terms, how would you suggest to approach your work?
Although I am an artist I am a fashion victim for aesthetic and generational matters. I love science fiction movies. Much of my work shares the notion of Blade Runner, a film based on the book by Philip K. Dick. The author emphasizes the fact that robots, a symbol of the most technologically human advancement, seek through acquired memories to find an intimate world, valuing by opposition the personal universe.
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?
I leave the so-called “tradition” for those “who know” …fashion means to celebrate what’s new and if that is all about I consider myself modern glam glitter. It is an invented area just because I am only modern in the issues in which I am a specialist, for instance: the bright incandescent pink glitter at the shining sun. Artists that drive me crazy are Jenny Holzer, Cindy Shermann., David Lynch, Sofia Coppola, Depeche Mode, Paul olkenford, Armani, Dolce Gabana and close in relation to question No.2 I love Kierkergaard who in the Posthumous treatise of despair wrote "... dare to be oneself, to make an individual, not this or that, but here, isolated before God, alone in the vastness of his effort and his responsibility" ....
4. Choose works or exhibitions from the last ten or fifteen years which in your opinion were very significant and explain why
As an authentic fashion victim I have always admired the incredible taste of Dalila Puzzovio, but shortly, I would mention the master of masters: Antonio Berni, who due to personal circumstances I had the opportunity of knowing. I hung in my studio a photo of his drawing "Waiting", carried out for the Bonino Gallery in 1977. It is a portrait of a voluptuous female body, naked, with a flawless makeup, an expensive coat and a martini in her hands. Through the window we see a snowed New York that highlights the strass earrings. Berni is the painter who better reflected compassion towards all human race without denying issues such as triviality and sex combined with beauty and aesthetic reflections.
5. What tendencies or groupings from common elements do you see in argentine art of the last ten or fifteen years?
Media, globalization and reminiscences from the past, need of hyper-modernity, the need for expression and expansion.