I was born in the province of Corrientes, in a forgotten Argentine “Macondo”. During the siesta hours, marked by the fierce tropical heat, I was forced to “sleep”, but, far from closing my eyes, I spent the hours focusing on the images of refracted light on my room’s walls and ceiling. Through the narrow crevices, the sun projected in perspective the shadows of the red and blue checkerboard in the yard, as well as the grapevine. My childhood room was an actual pinhole camera. Perhaps for these reasons, and their mysterious outlines, some years later, Architecture became my profession of choice. Being an architect affords me many satisfactions and lots of happiness. I practiced the profession during a long time, but 20 years ago, certain circumstances proved a turning point for my work, and I began designing textile objects. With time, art grew to become a real passion. By then, my knowledge of the discipline was very limited, and I visited museums and exhibitions only out of curiosity or sensibility. I worked based on my intuition and honestly oblivious to any antecedent. I took part in several collective exhibitions, both in Argentina and abroad, but I never gave my profession up. I came back to architecture time after time, with postgraduate and refresher courses, as I had changed the practical application of Architecture for endeavors of an artistic nature.
I received some accolades, such as the Great Award of Honor, bestowed in 1992 by the Jury of the IX National Textile Art Award. I was also pleasantly surprised when I was conferred one of the awards in the sculpture competition for the Azucena Villaflor Boulevard (arteBA and Puerto Madero Corporation – 2001, a project still to be executed.)
Far from believing that an award represents a finishing line, I decided to keep on learning, and took part in workshops on Sculpture, Textile art, History of art, Contemporary art, Photography, and continue to do so nowadays: last year I began a Master’s Degree course on History of Architecture, Design and Urban Planning at the University of Buenos Aires. I am curious and enjoy investigation. Learning fills me with joy. I also like reading, laughing, listening to music, chatting and sharing what I know with anyone. Mi daily life flows from one activity to the next, without need of a remote control to zap between channels, for all I have gathered helps me in the transitions. Experience is useful.
Since 1990, I was part of several exhibitions: arteBA Foundation, Recoleta Cultural Center, Borges Cultural Center, National Halls, Sívori Museum, World’s End Biennial, Santa Cruz Cultural Center, Cabildo de Córdoba Cultural Center, Open Study, among others, in Argentina. I also was part of international exhibitions: New York, USA; St. Petersburg, Russia; Szombathely, Hungary; Xalapa and Distrito Federal, Mexico; Colonia, Uruguay; Como, Italy; Mulhouse, France; Gdynia and Lodz, Poland; Albacete, Spain; Havana, Cuba.
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.
I can’t choose a single work that is “representative”, as somehow all of them represented me as of their production. Many are failed attempts at something that could not be, and others turn out just as desired. I would like to focus only on a photograph I took as a memento of the day I left my workshop in 3 de febrero St., in the autumn of 2005. This simple, low-quality record (it was not meant as something artistic), marks the end of something and the beginning of something else. It shows the place of decrepitude we sometimes lodge ourselves in to avoid inventing things new and clean. About fifty sculptures, objects, sketchbooks and materials lie now buried in the yard of the manor house, located at the junction of 3 de febrero St. and Congreso St. And, in attendance to my grandparents’ saying, “Dawn is the darkest hour”, it was the first time I felt sadness and joy at once. And how good it was for me!
2. In general terms, how would you suggest to approach your work?
Shall I provide instructions to read my work? If so, keep on reading. If not, the following bears no interest at all...
My work is always spatial. It refers to the relationships between the body and objects, and between the body and the surrounding space. It also presents the idea of linkages, proximities and distances between things and beings, and between beings with each other. My first contact with art was in the end of the seventies, when I took drama training with Laura Yusem and a seminar in architecture for artistic performances, chaired by Architect Gastón Brayer, in the School of Architecture. I think my work shows three clear-cut stages. The first one starts with a very introspective connection to my body or parts of my body, and is the stage in which I made my textile works without formal artistic education in any institution, even though I had attended Nora Correa’s workshop and had started my studies in drawing with Enrique Aguirrezabala. The second stage shows an aesthetics rising from my experience in workshops such as Enio Iommi’s (sculpture), Ester Nazarián’s (drawing), Jorge López Anaya’s y Valeria González’s (contemporary art.) The third stage marks my delving deeper into art, from the sixties onwards. In order to find my way into a more conceptual kind of work, I entered a long silence without production and devoted exclusively to studying. It was then that I had to move out of my former workshop and take with me to my new (and very small) space only the works I am very fond of, leaving lots of sculptures, sketchbooks and other objects buried in my former workshop.
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?
All the avant-garde movements were like stepping-stones for my understanding of contemporaneity. Two contemporary artists that “blew my mind away” are Marcel Broodthaers and Gordon Matta Clark. (I would have liked to say that they are role models and that their influence can be seen in my work.) I do not consider myself part of any tradition.
4. Choose works or exhibitions from the last ten or fifteen years which in your opinion were very significant and explain why
It is strange to think of so many years. It would be unfair for me to name some artists and leave others out. The exhibition is important in the moment it takes place, and each artist shows ways of connecting with the public and presents his or her own poetics. The most important is what happens to us as we go through the exhibitions. Leon Ferrari’s exhibition at the Recoleta Cultural Center was one from which I emerged a different person. It was very moving to see such a corpus put together, perhaps because I lack the ability to convert political, social or religious matters in metaphors and buttresses for my own work.