I studied in the National School of Fine Arts “Prilidiano Pueyrredón”, were I graduated as a painting professor and I assisted for a while to the workshop of Alejandro Boim. Since then, I participate in awards and contests. I obtained the following prizes: First prize of in painting for younger than 30 years old from the University del Salvador (2001), Third prize of painting in the VIII Encounter of Visual Artists with Bollini (2002), Prize for artist younger than 25 years old in the XVIII Tango Hall Sigfredo Pastor of the Vicente López municipality (1999), Mention Osram Award (2006), among others.
I did several individual exhibitions: “Mysterious Scenes” (“Escenas Misteriosas”) Holz gallery (2008), “Paintings” (“Pinturas”) Crimson gallery (2005), “New Look” ("Nueva Mirada") Recoleta gallery (2002), among others.
And I exposed in collective exhibitions: Palais de Glace, Recoleta Cultural Center, Borges Cultural Center, Praxis gallery, Italarte gallery (Rome, Italy), Sivori Museum, Argentinean Hebraic Society, Expotrastiendas, Catalogo gallery, among others.
My work is part of private and public collections, including Ralli Museum (Punta del Este, Uruguay), University del Salvador, Greenpeace, etc.
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.
The work I choose is “Flower Power”, oil painting over fabric, size 180x150cm, from the year 2002. It was a very uneasy moment for the country, there was still uncertainty provoked in 2001 after the financial restrictive measures (corralito) and the departure of De La Rua (he quitted from his government), etc. In this work of art there are girls that aim to each other with plastic guns and a giant robot with a flower-shooting gun, immersed in a surreal atmosphere where I make an ironic reference to the hippie movement, in a moment where the feeling was: we are all against each other. I base this work in a well structured drawing, using pictures I took. Once I create the scenery with the characters, I paint the back with oil painting and then I melt the light and shadow passages, with the dry brush technique. I then paint the characters using the picture as model and, at last, on what would be the floor, I use the classic perspective of vanishing point, to draw geometric figures that escape to the interior of the painting (to give a bigger sense of depth).
2. In general terms, how would you suggest to approach your work?
The contemplation, free of all prejudice and without trying to give a rational explanation to each element I included. On the contrary, I’m interested that spectators think about what they are seeing, what it transmits, and not that are trying to know why I did what I did. The most important thing in my scenes is those things that can’t be explained.
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 see myself as a painter with influences of realism, hiperrealism, surrealism and sometimes somehow pop. Some contemporary referentes might be Antonio López, Cristóbal Toral, Daniel Sprick, Frank Miller, George Lucas, etc. Nationals: Carlos Alonso, José Marchi, Roger Mantegani, Guillermo Roux, etc.
4. Choose works or exhibitions from the last ten or fifteen years which in your opinion were very significant and explain why
The last one I remember that really made a strong impression on me was “Carlos Alonso Illustrator” in Recoleta Cultural Center in 2008. That’s due to his way to unveil and expose hypocrisy and the virtuosity to transmit his own perception of reality.