I live and work in Buenos Aires.
My entrance into arts happened when I was a child, I was always in full fantasy.
For example I drew, took notes of names of imaginary friends who came in ships from places where it was always winter and who lived in drops of dew.
Until the sun heated and evaporated it all ... It’s an indelible memory in me.
Actually, in 1998 I wanted to know about art and was very anxious to paint in oil. Soon I attended several art workshops and avidly visited artists’ workshops.
I studied drawing, painting, engraving, serigraphy. Besides I had great interest in Chinese art and literature, and began to buy used books with fantasy anthologies. From 2003 until now I attend literary workshops. There I study fiction, poetry and contemporary literature.
And in late 2000 with great desire I achieve my first individual exhibition (Leopoldo Marechal Cultural Center, Hurlingham, Buenos Aires Province), showing large-format paintings (collage).
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 first thing that comes to my mind is that I am good at drawing, at the details of a draft, at failure, when I lie to myself, at something thoughtless.
Because I think everything relates to ideas of the unconscious. There's the work, that's my work, which would basically consist of making the picture talk to me, to avoid it from taking me through repeated paths. If I set a color, let it compel me to be under the shadow of chance. It may even inspire me a cruel situation, like imagining Mr. TV having sex with Flavia Palmiero [TN: these are two characters of an Argentinian TV show for kids of the 80’s].
For example, who was Mr. TV...? This is a drawing, a story... something visually narrative.
I'm still not sure of controlling an idea. I fight with formulas, because it is the line the one who thinks. So I believe in a drawing, in a sketch, in a draft, in a sentence... in a word. A tip from a stranger.
2. In general terms, how would you suggest to approach your work?
I think most of my work should be read as a short story.
Yes, because who looks, somehow projects their sensitivity, and their knowledge in this sense is enough for a short story.
Because somehow, it is all about expanding, in brief. From the metaphorical, from the most natural emotional perception.
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 idea is anachronistic. I do not believe in a tradition. To me it is a big menu that has no relation to my work. But it has to do with my learning, with a link with cultural matters, creating influences from the appetite.
I am interested in –by heart–: Lino Enea Spilimbergo, Raquel Forner, Xul Solar, Cándido López, Van Gogh, Ernesto de la Cárcova, Quinquela Martín, Alberto Greco, F. Goya, Pablo Suárez, Marcia Schvartz, Liliana Maresca, Luca Prodan, Tanguito, Batato Barea, Fernando Noy, Cemento.
4. Choose works or exhibitions from the last ten or fifteen years which in your opinion were very significant and explain why
The significant ones, that gave me light...: Molina Campos in Luján (Buenos Aires Province). Antonio Berni at Latin American Art Museum of Buenos Aires (MALBA). Pablo Suárez at Ruth Benzacar Gallery, Marcia Schwartz in San Martín (Buenos Aires Province). Xul Solar in the National Museum of Fine Arts (MNBA). León Ferrari (Recoleta Cultural Center). Fabián Burgos (Recoleta Cultural Center). Ana Gallardo at Juana de Arco Gallery, and Sendrós Gallery. Magdalena Jitrik in Oficina Proyectista. Drawing Club. Roberto Jacoby at Latin American Art Museum of Buenos Aires (MALBA).
Homages: Alejandra Pizarnik in Morón Theater (Buenos Aires Province). Miguel Abuelo in Borges Cultural Center (Buenos Aires City).
Collective exhibition of artists from Borda Mental Hospital (Buenos Aires City). The Colifata Project.
5. What tendencies or groupings from common elements do you see in argentine art of the last ten or fifteen years?
I think that: "Without fantasy there’s too much pain" (Macedonio Fernández).