I was born in La Plata in the beginnings of the winter of 1970. I started my Set Design studies when I was 15 years old, in the School of Theatre, where I met Fabio. I received my education in the UNLP in Plastic Arts, in the Engraving and Printed Art and Set Design orientations. I also studied Design in Visual Communication and then a few years of Cinema. Oppressed by all this academic years, I turned to the development of projects in the alternative scene. Your K.K. & Pelu S.A. was one of the most concrete and solid of these projects, that worked with the idea of synchronizing art with everyday life, the urban environment and the development of works through time. Xylography as a way of intervening on the urban space, based on repetition and substitution. The Planetary Art Network. At the same time, I started to wander through internal paths, taking my conscience beyond and forming myself or advancing into new domains such as healing: gems, yantras, reiki, vibrating therapy, psychic art… A typical end of century phenomenon and also a very typical phenomenon in La Plata, it seems. Art and healing as different dimensions of the very same thing.
I was part of several art groups: Nomadic Art, Mandala, FABRIEL; and joined a number of Design and Printed Art related projects: Graficayespectaculo and Pink Ink worked with me in exhibits in which I usually made Art or Lighting.
In 2002, I founded “HAMAMEUSLAND, a space-time where nothing is related with judgment but with distinguishing”, a web-community currently no longer online.
The followings are among the most relevant series of my graphic work: ¨SUPRAPLATONIC (BODIES AND TEXT ARE A WORK OF ART)”; “SURFACE AND ONFACE, SLOPES ON A PLANE”; “NAMES AND MIRRORS” y “THE PLANE EXPANDS AND GOVERNS THE OBJECT”. I belong to La Plata’s generation that develops itself in a number of different areas at the same time. I hope that these nets will help to take my art close to you.
PD: If you find here or in any link a generator or activator, don’t hesitate and print it and use it.
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.
Due to my growth within the engraving and printed art area, my work always frames its production in relation to seriality, matrices and their reproduction, and in this case, this is something very particular because the work defies an idea of unity that belongs to the past, advances and expresses itself directly as an operation in the symbolic realm. It is part of a series of works executed for a set of notebooks for authors, as a design and printed art project.
Black and Green on White support.
The symbol, the reason, the generator of waves of form, I construct it by balancing records, both internal and external, essential and formal. Once the drawing has been constructed, in this case as a vectorial image, I found out that it belonged to a series of “radionic” works, actually one of the first ones of being thus so consciously. I also realized that its “usefulness” was in the spatial dimension and the field of enterprises; in the same way of a yantra or a charm, but without an obvious diagram. Every positive project in contact with this form, either in the physical or a more subtle level, will rush in an harmonic way into the corresponding form. The alternating of light and shadow, black and white, and the energetic dynamic that it produces, recalls, unties, generates, energetic fields or domains that influence different levels of being.
Thus, already in these works, the digital production has opened the door to an original concept, different in matrix. It could be thought as a digital work or even as an imaginary one, fulfilling its role perfectly.
In this case, I made an edition on stripped paper with a high-definition ink-jet.
2. In general terms, how would you suggest to approach your work?
To read... Given that my work functions in so many different realities at the same time, the concrete experience of the work itself gains different hues. Many times the work itself is a reflection of the work that can actually be seen.
An holistic, sensual, primitive reading, allowing oneself to experience the work, to consume it as an inexhaustible L (C or S) D.
To use it.
To reproduce it.
To enjoy it.
To remember it.
To forget it.
To buy it.
To give it away.
To contemplate it.
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?
There are many aspects and referents influencing my work and accompanying it. Many times I talk about ART AND HEALING, which leads me to talk about chamanism, west and east, magic and alchemy, black and white, art and spirituality, health and beauty, mandalas, the senses, the mind. Then I recognize a strong influence coming from the electronic arts, which can be understood as the result of such a big futuristic desire. Lately I named a series from 2004 “OP NOUVEAU”: a particular vision of the sacred geometry and geomancy.
Regarding the printed art, xylography was fundamental for my connection to graphics. My education as set designer and in the art of lighting made me impossible to forget the staging of a work of art, its installation, and many times I use that very same setting as support of a sub-goal or sub-work. Something like operations in hidden and secret areas. I feel that the links between art and craftmanship are still being redefimed; in the digital era the scenario and the procedures have changed.
Another aspect that turns to be relevant in my production is related to the idea of collective art. Collective production, the interaction of the individual within a collective, etc. Not in the theoretical level, but as the dynamics of creation and production in the concrete experience. They are boundaries and limits that are always moving and have a different connotation in the different disciplinary areas.
The language, always, the speech, the power of the words and images, something like the illusion of going beyond the universe ruled by a verbal culture.
I am god, codified.
Sol Lewit – Margarita PAksa – M. Duchamp – Yoko – A. Warhol - Xul Solar – Christo – R. Steiner – Szuchmacher – Haring – Ralveroni - G Bruno - Marko Pogačnik – Internacional Situacionista – Jodorowsky - Liliana Porter - Alex Grey – Deleuze - Paul Laffoley
4. Choose works or exhibitions from the last ten or fifteen years which in your opinion were very significant and explain why
– MADI´s resizing of art and its spreading towards the beginning of the century, something still unresolved here in our local art.
- Porter at Ruth Benzacar in the 90s, which allowed me a direct contact with her work and the notion of problematized representation.
- Rave or Party from Karin and Pierce for the New Years Eve of 1993 in Vill Gesell and Valeria del Mar, before they created the Planetarium parties and the Earthlings Anonimous. Then, the psychedelic, the electronic music and the Goa spirit entered to this country, opening a strong gap with their fluorescent colors and the electronatural contrast.
- Kosice in the Recoleta Cultural Centre.
- The exhibit of the One Day in its many versions and annual venues, here in La Plata, permitted to have an outlook in the local production at the same time as adding value on both the quality and the diversity of the plastic and artistic proposals of the community, and made clear how related it was here the production to entertainment, celebration and management of spaces of contact with alternative audiences. But the most important was that the summoning was art.