I was born in Bahía Blanca in May of 1968. I studied Chemistry, attended the Film workshop of Edgardo Cabezas, then I took lessons with Jorge Macchi, Mauro Machado, Tulio de Sagastizábal, Jorge Gumier Maier and at the same time I attended seminars and workshops that encouraged me; here are some I remember: about vision with Alberto Goldenstein, about art history with Rafael Cippolini, about how to make a bow with Fernanda Laguna, about interactivity in artistic environments with Mariano Sardon, and so on.
However, I consider myself as self-taught, and I still understand art with my students, friends and the everyday environment.
Some exhibitions are significant: in 1998 an exhibition about nomads in the Fine Arts Museum of Bahía Blanca, Argentina; in 1999, Contemporary Argentinian Photography in Cité Internationale Universitaire Paris; in 2001, Suite at the Bahía Blanca Car Circuit, in 2002 with the group Work in Transit in popular libraries; in 2005 a collective exhibition with Augusto Zanella and Erica Vollers in Museum of Contemporary Art of Bahía Blanca and in 2006 and 2008 the Festival of Lights at the Alliance Française of Bahía Blanca.
I cite some festivals I coordinated: Panoramic [Panorámico] in 2006, Octopus [Pulpo] in 2004 and 2007. They were really fun.
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.
I get uncomfortable if I have to choose a specific work, because I made them all but they have autonomy now, so I will write about my work in general. I always work with film photography, digital or video. Depending on the context I make them on paper or I project them, articulated with sounds, lights, etc. The images operate as layers that narrate. Representing, criticizing, touching, generating questions, claiming, satirizing, and then adapting to give a dialogue to the viewer. The themes I use emerge from an idea, from work with files or randomly from the intuitive registry. Processes change according to the series; maybe they need a light, a texture, a size, etcetera. Consequently I work with them in analog or digital ways, consciously or not until I give birth, until I foresee what I want.
2. In general terms, how would you suggest to approach your work?
With an open mind, heart and full radar.
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 do not acknowledge myself in any tradition. I am interested in the work of Philip Lorca diCorcia, Gregory Crewdson, David Lynch, Jim Jarmusch. Among the classics I still like William Eggleston, Lee Friedlander and the coming artists: Jimena Travaglio, Guido Poloni, Fanzine Rigoleto, Tony.
4. Choose works or exhibitions from the last ten or fifteen years which in your opinion were very significant and explain why
The photographs of mock-ups by Dino Bruzzone. The group of Graciela Hasper, Fabio Kasero, Pablo Siquier and Ballesteros; "The Ascension" [“La Ascensión”] by Jorge Macchi. The films by Alejandro Agresti, because they achieved to surprise me, to touch me, and so on...
5. What tendencies or groupings from common elements do you see in argentine art of the last ten or fifteen years?
The trend that the Museum of Contemporary Art of Bahía Blanca contributed to create in the 90’s. The group Work in Transit in 2000; in the sense of sharing, learning and creating.