Biography
Born in Argentina in 1962. Visual artist and graduate of the art school Prilidiano Pueyrredón and teacher of visual language at IUNA (University Institute of Art). Studied in contemporary art seminars with recognized artists and theorists. Completed postgraduate course studies in communication at theWalter Benjamín Foundation -University CAECE. Invited by Alicia Blacksmith to coordinate the Lipac (laboratory of contemporary interdisciplinary artistic practices, Centro Cultural Rojas, 2008). Developed work chiefly in the digital medium and has taken part in group and solo shows since 1996. Solo shows: Desapariencias (Disappearances) (Casal de Cataluña, 1996), Impecable Chiche (Impecable Trinket) (espacio Juana de Arco-Galería Gara, 1999), Retratos (Portraits) (Centro Cultural Rojas, 2000), Paisaje Provisorio (Provisional Landscape) (CCEBA, 2004) and Recinto (Precinct) (Galería Del Infinito Arte, 2006). Between 2004 and 2007 participated, among others, in these group shows: 4000cm3 (Colección MACRO, Rosario, 2007); Transatlántica 9669 (Galería Sala de e-Star, Sevilla y Galería 713, Buenos Aires, 2007); Resplandores (Centro Recoleta, Buenos Aires, 2007); Revisitings in the MAMBA collection (Museo de Arte Moderno de Bs.As., 2005); Marcas Oficiales (Sala Subte, Montevideo and Centro Recoleta, 2004-5); Nuevas Cartografías (Centro Recoleta, 2004); Domus/Casa (Fundación Klemm, Buenos Aires) and collective in Galería Isidro Miranda, both in 2008. Carried out in 1999 the series Countries, digital photomontages that along with Revistero (2001-3) object-installation, was part of the MAMBA collection. The series of 3D drawings Vecindario cuatro piezas (Neighborhood four pieces) (2000) obtained mention from the jury in the ICI video and digital art contest. 8 casas perfectamente iguales (8 perfectly identical houses) (monochannel video, 5´30", 2003) with texts by the writer Martin Kohan, obtained the MAMBA 2003 prize. Lives and works in Buenos Aires.
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.
Title: Sillón para tela en bastidor (Chair for canvas in frame.) Year: 2005 Dimensions: 250 x 170 cm. Technique: Drawing and digital painting, print on cloth. The work is an essential part of a project that comprised the show Recinto (Precinct) in 2006. Concept: Printed cloths on the walls of the room replace the furniture, representing it in real size. My idea was that these images would function as representations and as objects. In other words, that the representation would not be dominated by the ghosts of the objects while the real objects were not exempt from fiction. Process of production: the image arises from the visual documentation and the combination of digital processes generated in different programs. Once the image is virtually resolved the leap to materiality begins. I find, paradoxically, in the classical materiality of the cloth the ideal combination for my form of image work. Glass is also an especially important material for me because it permits me to give an objective dimension to the image.
2. In general terms, how would you suggest to approach your work?
I believe that my work is approached through its details, that the dominant lines can be read through the years as the same idea. I'm interested in playing with the conventional sense of things, especially as regards representation. I'm attracted to quotidian objects, environments, I'm interested in trends because they can be culturally naturalized. I believe the major risk of its reading is that the work can be identified or assimilated with an idea of good taste, or of a certain taste, when the intention is to bring to the scene a personal sensibility more bothersome, or at least contradictory.
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'm interested in pop music, its themes and its mimetic articulation. Making the cut of my contemporary influences, I'm interested in works such as House by Rachel Whiteread, the works of Louise Lawler, of Elba Bairon or Liliana Porter. There are other artists that I love although their works are not evident influences of my work, like Ferrari, Canle. Among the previous generations of Argentines i like many paintings by Macció, Forner, a little more the works of Marcia Schvartz, certain works of Mildred Burton. I have great respect and recognition for the artist Mónica Girón.
4. Choose works or exhibitions from the last ten or fifteen years which in your opinion were very significant and explain why
The economy of resource and maximum signification in the works of Zabala or Macchi. “Mirá como tiemblo” (“Watch as I tremble”) (Zabala, 2002) some aerosol tubes with plastic lighters attached in a subtle, yet at the same time aggressive manner. The newspaper obituaries that Macchi transformed and put into buildings, pasted on the windows and stapled on the wall, are another example. Elba Bairon has a very beautiful work composed of two huge painted plaster statuettes: a chicken and on the side a peasant turned over on the floor. For me it is significant because it is removed of delicacy and emotionality, in a different dimension from the habitual. Two works by Cristina Schiavi, one in the Gara gallery, I believe from 2000 and another in Braga Menéndez, from 2005 if I’m not mistaken, In which the implied spaces impacted me not only because of the correspondence between them, in that sense, but because of the particular style with which the artist summoned the work, the objects seemed to play literally and formally, as i see it, to be located, as "vanguards".
5. What tendencies or groupings from common elements do you see in argentine art of the last ten or fifteen years?
Probably a tendency towards autorefferential themes such as memory, infancy, the reactionary, private friendship circles, hedonism, etc. Above all in painting and photography. It's a type of subjectivity, quite fashionable. In a smaller measure and more recently, the works carried out with the so-called new technologies which seem to aim at a subjectivity contrued in the present time, less dependent on autorefference, they are works with a lot of emphasis on the device.
