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.
Machine-sewn fabrics. From the exhibition called “You should believe in spring”, 2007, Lugano, Switzerland.
18 lineal meters of fabric, drawn with the seam of a sewing machine. The work has a sequence, a route, a narration. To make and mount it, the fabrics were cut only where the hall columns are located. The line of the horizon is continuous all along the 18 meters. The materials chosen respond to its own logic: the fabric and the seam are naturally correspondent. Themes are autoreferential and drawn to the rhythm of the sewing machine, without going back, and without any previous drawing, the act, the way of doing it is made clear.
2. In general terms, how would you suggest to approach your work?
I wouldn’t know how to suggest a way to read my work. I know what things generate it, and that is untransferable. I can say, though, that its content is related to intuition and sensibility. From then on, an empathy with the viewer is either generated or not. The material aspect of it, as well as the mounting are always more rational activities.
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?
Not tradition, my work I feel it as a search, something that is in constant movement, a void that must not be filled.
My most important influences are Rodrigo Cañas and Rosalba Mirabella, their work interest me, as well as the conversations we keep on art.
All members of the “Cero barrado” art group configure my basements; Ana María Batistozzi, Martín Guiot and the first “Viva marte” exhibition in Tucumán.
Architecture, Kazujo Sejima, Lina bo Ardi, Rem Koolhaas, etc, etc, etc.
Victoria Díaz Saravia, Otto Krausbek, Bernabe Pico Estrada.
My masters and teachers in Switzerland.
Gordon Matta-Clark.
Aneque Riedke.
An infinity of far eastern images.
All of Javier Juarez’s work.
Rolo Juarez, him entirely.
Gallerists and discussions..
Juan Doffo, Claudio Ongaro’s lessons at the Escuela Nacional de Bellas Artes Prilidiano Pueyrredón.
Of older generations: Tucumanian artists from the 70s and 80s. Sergio Tomattis and his censured exhibition called “El enmascarado no se rinde”, Gerardo Medina and his many performances, the ‘gallego’ Guzemas, Aurelio Salas, Gerardo Rodríguez and his digital work and paintings, Patricia Bruno and her hyper-realistic images, the Norte group, Marcos Figueroa, Juan Manuel Froideval and his beautiful serigraphy studio, Eli Cárdenas with her sculptures, Octavio Amado and his graffitis, Maria Ana Hervas, Blanca Machuca, the A.T.A.P. association, Mirian Holgado and her presence at the Escuela Prilidiano Pueyrredón, Rodo Bulacio, Carlos Navarro.
Luis Vivas and his inks with strong looks full of significance to me.
4. Choose works or exhibitions from the last ten or fifteen years which in your opinion were very significant and explain why
I haven’t had the chance to see many echibitions during the past few years in Argentina, but I think it’s important to point out the uprising of new art spaces and galleries in Northern Argentina, such as the Mac Museo, the La Guarda art space in Salta; La Punta and La Baulera in Tucumán, for art spaces and galleries such as these accompany the inmeasurable art production of artists living beyond the limits of Buenos Aires.
