For some years I’ve been developing objects and installations, almost all of them following one same leading thread which is light and technological components that are discarded. It would be like giving a new meaning or a recreational approximation that takes the light out of its context to recycle it and articulate new meanings. All this begins when my studies somehow merge -electronic mechanics on one side and art and sculpture on the other side-, and I begin to design a sequence of objects more related to design, as lamps and sculptures made of resins. After some lighted garments, that have leds appropriately placed, they gave way to some lighted acrylic sculptures, engraving devices and matrix (tacos de grabado) similar to etching and pendants of acrylic and light with parts in silver. All these revealed something that later was developed more thoroughly, it was an exhaustive study of anatomy and the energy processes of living beings.
I’m also part of a group of artists called Oligatega Numeric. Together we usually work with images, texts, video, music and installations. The group’s researches inquire in technology, fictional stories, language and thinking processes in general.
I’ve assisted to Antoni Muntadas in the presentation of his work in the Modern Art Museum of Buenos Aires, 2003.
Rojas Cultural Center/UBA BECA KUITCA workshops program for visual arts, 2003/2005.
Sculpture in National School of Fine Arts “Prilidiano Pueyrredón”,
2008 MTV cliks Rosemblum Foundation.
2008 The Huge, Ghosts [El enorme, Fantasmas] Torcuato Di Tella University.
2007 The Huge [El enorme] ESC. 5 ArteBA.
2006 Sudmamoune DA galería.
2006 Modular Silence [Silencio Modular], Daniel Abate gallery.
2005 Ghost Train [Tren Fantasma], ArteBA-Petrobras Prize, 2005.
2004 mobo 6 Modern Art Museum of Buenos Aires.
2004 Proyecto Biblioteca en Red, Sonoridad amarilla, ArteBA 2004.
2004 The Huge [“El enorme (esc3)”]. Experimentation Center Colón Theatre (CETC)
2004 Konex Cultural City, Summer Festival Porteño, hall 7 1/2 The Huge ["El enorme"]
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.
One work that resembles this idea is the one I did in the year 2000. It’s a figure made in a material called OLED (organic electro-diode light), similar to the one used in cell phones’ screens. This little human figure is connected to a dynamo that, when it’s triggered, generates an electric charge that turns on the character in the entire surface. This action allows seeing or traducing the energy of the movement of one person into light, with a frequency always different and characteristic to each individual.
Another thing I’ve done, and in a way it’s related to the world of clothing or fashion, are silicon garments that are made with the interior of a PC keyboard. Clocks are constant in my objects. They are made with old PC function indicators and flat cable. The green one has an integrated circuit that is triggered with movement and has a random sequence. The other clock is fixed, it’s called clock of fixed time indication and always points out –more or less- one o’clock. It is also made with discarded PC material. These ideas or objects are made with some irony because I’ve worked too much time tied to the clock, making my days quite tedious. When I was able to release myself and dedicate to art completely, I wanted to make an object that would materialize the idea of temporal movement, a fiction of the time set in life in the cities. In some cases the need to recycle rules, forced by a concept. We live in a very dirty and bad-mannered city and certain times I’m concerned about being able to synthesize the garbage’s beauty and be able to show or prove that we are not very conscious of the potential that surrounds us.
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?
As for traditions, it is my wish to take all in and stay away from ways and mechanisms of thoughts very well defined. Precisely the opposite of what traditions stand for.
I think the Le Parc building is very important to understand the new forms, technology, and being ahead of its time towards a new vision of art.