Biography
I was born in 1971 in La Plata, but I have lived and studied in Buenos Aires. I tried several things until I found myself with photography: dance, ceramics, sculpture and clothing design. While I was studying at the School of Photographic Arts of Avellaneda, I assembled a lab in my house and spent entire nights developing photographs. Later I travelled to Germany and spent four years in the city of Bremen. During that time I worked as a photographer in Die Tageszeitung newspaper, a job that was very important for my training: from the simple fact of producing images every day, working in a team, meeting different people, constantly facing different situations, to seeing my photographs at the kiosks, the houses, restrooms and bars of the city. I love to see photos printed on paper.
Since I came back to Buenos Aires I have interspersed my job as a photographer with my art studies in UBA – University of Buenos Aires (in homeopathic doses), taking part of different workshops and in some group shows in Argentina, France and Germany.
I have worked for four years in Ex Argentina project, where I learned a lot about art, management, politics, coexistence and translation, in the broader sense.
My artistic production is at times very connected with my work activity. I like that they cross and feedback one another.
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 to choose one because each photograph represents me somehow, so I will simply choose the last one I realized.
It is a photograph where one can see a wall of water falling and an arm that tries to go through it. What I find attractive in this image is the tension produced between the surface dimension and the perspective one, and between the real and the fictional dimensions. In addition I think that this image can be a metaphor of a moment in my work, where little by little the human figure tries to invade the landscape. We will see.
2. In general terms, how would you suggest to approach your work?
Fortunately this is something that’s not in my hands. More than suggesting readings of my work, I prefer to listen to them. The only thing I can say is that at the moment of production I’m interested in the vague boundary between the documentary and the poetic.
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?
Within contemporary photography, I recognize myself in a quite classic tradition: there is an interest in documentary and formal aspects in my images that are very influenced by the training I had. But in the way of dealing with the subjects and in the way of editing, I find myself with more contemporary issues that I started to discover with the German photography: The Bechers, Andreas Gursky, Wolfgang Tillmans, the reportages of Wolfgang Bellwinkel and of Eva Leitolf, my friends Nikolai Wolff and Katja Heddinga.
Regarding Argentinian photographers, I like the work of Esteban Pastorino, Marcos López, Res, Alessandra Sanguinetti, Jorge Sáenz, Sub Cooperative, Cristian Peralta, the family pictures of Paula Zuker and many more.
Photography books that I see over and over again: Democratic Forest by William Eggleston, Ten years after by Nan Goldin, Photographic Work in Argentina by Grete Stern.
Other important references come from film: Buñuel, Chabrol, Gus van Sant, Fassbinder, David Lynch, Lucrecia Martel, Lisandro Alonso.
And from all of my artists and non artists friends that make me see a bit beyond my own blindness.
4. Choose works or exhibitions from the last ten or fifteen years which in your opinion were very significant and explain why
I remember Jorge De La Vega’s show at Malba – Latin American Art Museum of Buenos Aires- with great joy. It managed to transport me from time and place. It was fascinating to know so many levels in his work and to connect with the critic and humor that unfolds in all his art.
I also liked to participate in Tertulia, a project of Eduardo Molinari and Nicolás Varchausky. I say “participate” because that’s the way I experienced it. All of us that were that night at Recoleta Cemetery participated of the artwork.
It was another very interesting artistic event for Argentinian history.
