Biography
She was born in Córdoba, Argentina. She studied in the Art School of the National University of Córdoba. She performs individual and collective exhibitions since 1997.
In 2000 she joins Grup00, a group of young artists that look after their own management and perform exhibitions in which they invite other artists that belong to several artistic fields. Their activities are still being developed.
Their interest is based in the exchange of ideas between artists and the open reception of their artwork, which is build from the appreciation of the context as the base of their analysis and poetic conclusion.
In most of their artwork stands out the support based in industrial techniques, such as cut plotter, laser engraving and serigraphy.
Her last collective exhibition, Boom, is an intervention done with Grup00 in the Spanish Cultural Center of Córdoba (2004). She participated in the Basilico's residency, coordinated by the artists Esteban Álvarez, Tamara Stuby and Cristina Schiavi.
She currently developes different urban interventions.
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 artwork here presented belong to the "Movil Home" (Mobile Home) project. The intervention was a long process, both in public and private space of icons or images made with cut plotter and installed in the architecture. They respond to the idea of being one only image, a simple icon that generates ideas and associations that the passerby encounters, that may or may not be encoded but that respond to this single end, beyond any other type of consumption. These images somehow relate to the idea of computers' hyper links, establishing like images-links that connect with another more personal reality, and in this case the proposal is to achieve this direct association with the spectator and his inner world. It stands out the introduction of several semiotic systems of representation, as the ones that come from massive reproduction techniques (cut plotter applied on vinyl), ie, media taken from graphic and from the industry. This resource was taken as a camouflage of the artwork to infiltrate in the regularity of graphic media, a non-invasive take over using the usual ways, knowing that the signs of graphic perception are inserted in a monosemic system, ie, each sign is prone to possess a conventional association. Without a doubt, is inevitable the multiplicity of interpretations. The words used in the graphics act as well as "other links". At the same time they raise a reflection on the media bombing taken place on the streets and to the reality that is being presented by the media using words in English as a first language due to its high communicational reach in "global communication". These are words that we find on our everyday trail and in the fundamental language seen in the computer. Likewise, the use of English words leads to cool off a little bit further the discourse, and that's because it is a different language (it is not the usual one), and that creates a kind of dissociation, resulting that the connotations that they might raise, open up and expand their significant possibilities.
2. In general terms, how would you suggest to approach your work?
As I work in the street or developing interventions in specific places, what's ideal for the artwork is to be read in its original context. This is hard once the artwork is removed because there are only trails of the exhibition or the intervention itself. That is why I find it more coherent to work in the streets, where the passerby finds something extraordinary. I work in a non-invasive way, using images and resources that we see everyday in our transit through the city.
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?
It is very hard to define yourself within a tradition. In my case, I believe it fluctuates within the contemporary field with strong roots in engraving, and therefore in drawing. And yet, my education is based in the codes that come from two traditional disciplines (painting and engraving), giving special relevance to the installation of objects, photographs, drawings and video... new supports or ways of production. I can mention many referents that in the present keep on developing their artistic endeavors and many other referents that come from the field of letters (literature), in thought and specifically within the visual field: Roland Barthes, Gastón Bachelard, among others. Jorge Macchi, León Ferrari, Marcos López, Cristina Schiavi, Tamara Stubi, Gastón Pérsico, Esteban Álvarez, Hernán Marina, Román Vitali, Leo Battistelli. I felt their influence both in a conceptual and a formal way, an influence that has affected my artwork's discourse.
4. Choose works or exhibitions from the last ten or fifteen years which in your opinion were very significant and explain why
A very meaningful exhibition was León Ferrari's last exhibition that was censored. It is clear that in addition to have an interest in Ferrari's work, I find amazing the social impact it has on all levels. If you are able to make a general reading and group some artists according to their common characteristics, it is something difficult to do. However, some artists are directing their artwork to everyday affairs, to what's happening in their lives, sometimes expanding their discourse and other times that's the actual artwork, someting that swings within the limits of what's real and pure fiction and the representation of everyday affairs.
