Born in December of 1971 in the city of Buenos Aires. The heat, the inflation, the political struggles, the horror, the disenchantment, the young libertines and the river of La Plata were a part of the landscape that surrounded and somehow built my “body” as a child. Besides a certain époque and geography I remember some Magritte paintings and the orange color as my artistic incentives. In the 80’s and 90’s I also lived in the cities of Mar del Plata and Ushuaia, Argentina. I made a Fanzine named Mr. Judge, I published in several comics’ magazines of Argentina, Brazil and Mexico, I exhibited in collective showings in Buenos Aires, Ushuaia, Porto Alegre and New York. I collaborated with the publications Lengua de Vaca and Abador of Ushuaia. In this same city I gave impetus to drawing and comic strip realization workshops in schools, institutions for social development and also through tuition. This experience allowed me to share and think the act of drawing with others, children and adults. This brief story is obviously full of encounters that I will not mention: Other people with whom I was able to imagine in a clearer way my own wishes and action in order to build “a world”.
Nowadays I draw, cut and paste. I also collaborate with the Publishing House Zorra and exhibit in Sapo Gallery.
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.
When I’m asked what do I do, my letter of introduction is the drawing “the elephant that illuminates its own way”. It is an ink watered drawing on paper of 30cms X 40cms. I did it in the early 90’s. I like the simpleness of the statement and how with a few elements a lot more appeared, I think of it as a walking nonsense and that’s exactly what I think of a drawing: a concentrated time that pays off, that is coherent while establishes a relation ship with the drawer, the material, the drawing itself and the others…that wondering about what is real that allow us to set up questions among ourselves. That drawing also reminds me of the moment I actually started to draw with less ingenuity and with less pre judgments; it was then when my drawing started speaking to me, especially about things that I didn’t know that I knew. It also started to search for its own coherence.
2. In general terms, how would you suggest to approach your work?
I don’t know.
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 feel a part of the tradition of drawers that enjoy the act of drawing even when drawing is actually a problem. The word tradition, as we know, is blown up, still evokes something about the own work, but here, I can only take responsibility for discontinuities and names. I think of two zones: cave painting and art and pre Colombian art. Also in artists who’s legacy I accessed discontinuously and that were of my own personal landscape: Hokusai, Edward Lear, Winsor Mc Cay, Herriman, Magritte, Duchamp, Dubuffet, Alfredo Prior, Liliana Porter, Alfredo Benavidez Bedoya, José Muñoz, Alberto Breccia, Juan Lima, César Bandin Ron, Fabio Zimbres, Elenio Pico, Langer, Marina de Caro, Leonel Luna, Claudia del Río, Lux Linder. At this point get mixed the view of reproductions, the view of originals and the personal contact. It is also impossible, when talking about tradition, not to think about how Cultural Institutions advocated to art, allow or block the access to a certain experiences of senses. There are many younger artists –and some others of my own generation- that I like. Some of them are Mariano Grassi, Guillermo Ueno, Paulo Fast, Cristian Turdera, Enrique Ranzoni, Kioskerman, Mariela Scafati, Isol, Max Cachimba, Lucas Nine, just to mention some.
4. Choose works or exhibitions from the last ten or fifteen years which in your opinion were very significant and explain why
At this moment I think of three works that address to “ highly significant”: Study for the reconstruction of the Batlle of Anghiari by Alfredo Prior, the series of banknotes by Ralveroni and the room of Marina de Caro in the Recoleta exhibition of 2007. Witnessing these works was highly significant for me. Three different ideas about the act of drawing. Three artists who draw. Formally these works seem to be impeccable. If you could find a common line that crosses them it would necessarily be a diagonal, I find them absolutely stimulating in their differences; each one of them is an experience that invites to an action with certain kind of consistency. Their formal precision doesn’t prevent them from giving away what they do while their technical expertise is not imposed on what they are searching. I can also find clues in the room of De Caro that allow me to drift into question the truth of Architecture. In Ralveroni’s bills, the truth of money and in the “Study for…”the truth of the Art History. I feel they are strong works at the same time flexible in their own artistic coherence which beyond their paths do not end up being cooped by the complex political power and space in which artists are usually involve. They join the art system, but they do not stay deliberately silent.