I was born in Buenos Aires in 1970. I started being involved in photography in 1998, at the same time I began painting autodidactically. I worked doing advertising and fashion photography. I took part of the art workshops by Tulio de Sagastizábal, and I currently attending the work analysis workshops taught by Gabriel Valansi. I’ve individually exhibited my work in La Casona de los Olivera (2002), Torre Monumental (2005), Sonoridad Amarilla, Boquitas Pintadas, the photogallery of the Universidad de Palermo (2006) and Bacano Arte Contemporáneo (2007); and collectively in the Centro Cultural Recoleta (2001, 2007), Palais de Glace (2001), Artechacra, Periférica-CC Borges (2003), Salón Nacional de Rosario (2005), Fuga Jurásica, Museo de Ciencias Naturales (2003/7), Estudio Abierto (2004 and 2006) and CCEBA (2004), among others. I live and work 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.
It is difficult for me to choose one single work that represents me, since I use different materials and techniques, painting, photography and installation. I can mention, though, what my concerns are when it comes to producing. I'm interested in whatever produces strangeness in the perception of the viewer when reading the image. To obtain this, I use several resources: distortions, anamorphosis, reflections, mirrors, and combinations between these elements.
I always use photography as a starting point, though I must point out that not only as a mean but as an end. Whenever I paint, I take a photo or photos as a trigger, and from there I start my deconstruction and construction of the image, creating the pictorial space in different layers and perspectives.
My objective is to create a certain tension between the limit of what's real and virtual, inside and outside.
2. In general terms, how would you suggest to approach your work?
Abandon oneself to the game proposed by the work of art.
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 don't recognize myself as a part of any tradition. My influences are those artists who have helped me -and still do- go along this way: Matisse, Escher, Jorge de la Vega, Dan Graham, David Hockney, Jonathan Jorosfky, Georges Rousse, Robert Frank, David Lynch, Hitchcock and Jim Jarmusch. Some of the artists that interest me today for several and different reasons are: Vera Lutter, Anish Kapoor, Regina Silveira, Gerhardt Richter, Hayao Miyazaki, Jeff Wall, Fabián Burgos, Alejandro Chaskielberg, Esteban Pastorino, Gabriel Valansi, Alessandra Sanguinetti, Karina Peisajovich and Max Gómez Canle.
4. Choose works or exhibitions from the last ten or fifteen years which in your opinion were very significant and explain why
Jorge de la Vega's retrospective in MALBA, because of the forcefulness of his work as time has gone by, Karina Peisajovich in Braga Menéndez, for the dynamic use of light, color and space, and Esteban Pastorino in the ICI, because I thought it was a discovery; it surprised me.