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.
"Untitled" (drawing). These series of works are a sort or consideration on drawing, an attempt to expand the possibilities of such a discipline, one of the most traditional and widely used by artists of all times, specially the graphite on paper -as being the more widespread of these techniques.
The works consist on connecting these two materials (graphite and paper) but in a different way, that is to say the graphite is not scratched onto the sheet of paper; graphite leads are used as lines that stick to each other to form a structure that floates over the paper, barely touching it. This ends up in a sort of relief that, at first sight, might look like a plane, flat drawing. As the viewer comes closer and goes through the drawing, a third dimension would appear, adding movement (the work changes according to the point of view). Such a movement means that, as the different points of views multiply, the drawing would seem unfinished, as if the graphite never fuully gets to interest the sheet of paper.
2. In general terms, how would you suggest to approach your work?
I don't have any suggestions. Each person would read the work the way they want or can. There isn't a correct or incorrect way to do it. The more possibilites of reading, the more rich the work becomes.
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 interests when it comes to visual arts are not limited to find references of my own work in other artists. If I would to limit myself to a certain affinity, as a form of approximation or image I could think of Gego, Eduardo Costa, Jesús Soto, Armando Reverón, Marcel Duchamp, Andy Warhol and León Ferrari, Tom Friedman, Maurizio Cattelan, among others. But I'm also interested by other works and artists that don't seem to have a direct relation to my production, such as Roberto Aizenberg, Edward Hopper, Roberto Matta, Miguel Victorica, Jeff Koons, Chardin, Soutine, Bill, Klee, Joseph Beuys, R. Crumb, M. Groening, Bosch, Félicien Rops, among many many others.
4. Choose works or exhibitions from the last ten or fifteen years which in your opinion were very significant and explain why
Ferrari's retrospective in the CC Recoleta. The Re-collection, at Malba Contemporáneo 11; Eduardo Costa in Ruth Benzacar, F. Peralta Ramos in MAMBA, Roberto Aizemberg in Recoleta. I don't know whether these exhibitions were crucial to Argentine art, but they're the ones that were interesting to me, the ones I discussed about with many artists and, to sum up, the ones I remember as enriching experiences.
5. What tendencies or groupings from common elements do you see in argentine art of the last ten or fifteen years?
Those supporters of painting-painting, committed sculptors, denunciation artists, formalists, conceptual artists (it seemed they come in different temperatures), post-punk performers, multimedia artists, art collectives, those claiming the rights of minorities, multi-skilled artists, etc.