I was born in 1968, in Buenos Aires.
I attempted subjects of the Graphic Design, History and Theory of Art careers at the UBA, University of Buenos Aires. I completed the ENBAPP and have a degree from the IUNA, specialty in painting. I attempted workshops with Tulio de Sagastizabal from 2002 to 2005. In 2006 I participated of the Rojas workshops, coordinated by Diana Aisenberg, Eva Grinstein and Rafael Cippolini.
Since I finished the Pueyrredón School of Arts I teach art in primary and secondary schools. I also worked for an animation studio. For a couple of years I took photos and slid shows projecting them in different events. I sang in three bands and had a boyfriend with a shop at the Bond Street Gallery, but I did not tattoo.
Since 2005 I have continuously shown my work at private and government spaces:
I will mention a few: CCEBA, Rosario National Hall, Cultural Chandon, National Biennial of Bahia Blanca, CCRecoleta, Appetite Gallery, Office plans, Belleza y Felicidad Gallery, Open Studio Avenida de Mayo.
Three solo exhibitions: modeling psycho geometry (Appetite Gallery, 2007), the room spinning and the cascade of water (Proyectista Office, 2006), Conduct of locusts on the formation of clouds (Casona de los Olivera, 2005)
Living and working 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.
Aguirre's street Large Glass is an intervention on the window of a room in Villa Crespo borough. It is a painting in chalk on a fixed piece of glass of about two squared meters. The geometric design is organized around some architectural elements that are on either side of the glass from certain points of view and play with the sense of depth, by stimulating it or betraying it. I choose this works because its formal characteristics, materials and process refers to a current work in progress. Indoors, space remodeling, all over painting, kinetic art, geometric abstraction, trompe l'oeil, among others. Producing crosses between visibles not always associated among them and with multiple relationships with different contexts. The time available to work on this project allowed me to make a process in which I could be attentive to what was going on: with twists and turns, testing, changes in viewpoint. The location was used at that time as a meeting place for discussion of projects. On the same block there is also a printing press, a shoe repair shop and an upholstery sewing house. That block gave the work a context that was actually interested towards its production process and observed the work as a work product, therefore in terms of utility. Spontaneous dialogues I held during the implementation period placed emphasis on the service that meets the artist's work. The first time was for observation, sit in and out, and take pictures. Being mindful of where and how the windows looked at the passing by or when gatherings and until what time the lights are on in this workshop. How the sun affects. Sketching on paper and on the computer. Choosing the environmental elements that I found significant. Trying on the glass with tape and thread different drawings. Copying on paper inward and outward windows, doors, angles, perspectives. Complete the design with echoes of these lines at intervals mathematically calculated, arbitrarily in its rationality. And this using brackets, level, stick to extend the distance from the shoulders to the marker and brush. Then cover the glass with powdered chalk mixed with water and some glue. Controlling the stroke the least possible. Auto-Painting large. Abstract Expressionism in a transparent white background layer. From then, working at night: scrape with wooden rod drawing, seen against the light. Surprise: the traveling projected by the night bus 109 on the back of the room.
2. In general terms, how would you suggest to approach your work?
I would suggest taking time and if possible a vermouth drink, letting yourself go to the game of what you see. Some attention. To suspend the value judgments, not to foreclosing any association or idea out of hand. To submerge into it forgetting and remembering it back while watching something else, while walking in the city, at the movies or in a book.
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?
If I take a picture of myself today and I look at it from afar I guess I could recognize me into a Rioplatense (native from La Plata River) concrete-conceptual cube-cinetism. The first is the most surreal part of the title; changing the emphasis from one term to another depending on which work is being observed. But those pictures change their colors rapidly. I prefer to think traditions occasionally and as mutant trampolines. Considering the huge amount of names which I could quote and taking into account that each time I answer this question differently, I will mention a few of the visual artists that interest me and come to mind right now: Marcel Duchamp, Roberto Aizemberg, Lux Lindner, as if they were a holy trinity. Arturo Carreira. Van Eyck. All those known today as "of the 90s" or "From el Rojas", especially Marcelo Pombo. And Siquier, Burgos and Kacero, of course. Sol Le Witt. Brilliant Brazilians: Lygia Clark and Cildo Meireles. Richard Tuttle and Imi Knoebel, for the international touch down. Tulio de Sagastizabal, a master. Sergio Avello, Diego Bianchi and Olafur Eliasson, recent romances. My contemporaries are found within those listed as well as in some not listed (and here I include all the artists friends who nurture me with their generosity further their words and their work).
4. Choose works or exhibitions from the last ten or fifteen years which in your opinion were very significant and explain why
Exhibitions and significant works ... for the development of my work? For the dynamics of the field? For the population as a whole? For the History of Art? The retrospective exhibitions in general. Especially those of Grippo and de la Vega at the Malba, Aizemberg and Porter at Recoleta, Peralta Ramos at Mamba. Because of the deployment of the very important work of artists of enormous residual action. Hurricane at Belleza y Felicidad, Minimalism / Imperialism at Sendrós and in the swamp May Gardens by Diego Bianchi. The square’s courtyard by, Julian D'Angiolillo. Magdalena Jitrik in the FLA. For the humor and ambition. Geographies of Daniel Joglar at Dabbah Torrejon. Guagnini’s pool table at Ruth Benzacar. The boy shit by Lux Lindner at Braga Menendez. Thomas Fracchia at Braga. The oil paintings and intervened prints of Londaibere at Belleza. For the sophistication and palpable loving. The various and varied editions of Open Studio. Gathering at the cemetery of Recoleta. The TPS at the Pueyrredon bridge. All works and exhibitions taht suggested new links between: art space - space for something else, public space - private space, sacred art – unknown art, artists - no artist, old art - new art, art audience – audience in general. All of the early days of El Rojas Cultural Centre and Belleza y Felicidad. And the whole set of non-institutional, one day, spread word of mouth, anonymous, internet and small places exhibitions that are proliferating in recent years.