Biography
Born in Buenos Aires, 1975.
Academically formed in the National School of Arts in Buenos Aires. He did comics in the early 90’s while being trained in painting, drawing, sculpture and engraving. Experimenting with unconventional materials he started painting on plastic and punching bags, transforming this into important elements for his work. Since he moved to New York (1999) hi developed a series of works using his own characters, for instance PIPU the mutant butterfly and PEPO the adulterated pet.
In April 2003, his work was specially noted by Charlotta Kotic, curator and head of the Art Department of the Brooklyn Museum of Art. He was also one of the five winners of the “Mirai” Award given by Lunarbase Gallery and Sozo Shoten, for artists creating future art.
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’m interested in the resources of digital technology, putting in service the diversity of the images and information that we are exposed to in the XXI century. I am also interested on translating into painting the complexity of the present from the same aspect of a sublime and disturbing time intermingled into a sub-world of pleasure and pain.
Technically I appeal to the fusion between technical and pictorial mediums, creating an inheritance of images with diverse aesthetics that are linked by the appearance of a comic character called PIPU that personifies the unexpected, the supernatural, a sort of “emissary symbol of a real cruelty”.
I find inspiration in the news, our mind’s reactions in front of various stimulus, daily situations collected from an unusual point of view, symbols of popular admiration and exclusive and aesthetic beauty among other things.
Virgin Ada: Acrylic and oil on canvas 127X127 cms. Technical aspect: This work starts with an antique objects selection, photographed, redesigned and reorganized. The resultant sketch was transferred to the canvas using a projector (searchlight). The pictorial process is divided in two phases. The plane background was made using acrylic respecting the limits of the design. The figure was made in oil trying to capture the volume and dramatic quality of the original character.
2. In general terms, how would you suggest to approach your work?
My work must be understood in multiple dimensions. It consists of an action with a past and an immediate future. The technical treatment of surfaces creates abrupt contrasts. Demystifying the respective use of a determinate technique and aesthetic in favor to the image and finishing of surface.
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 recognize my self without an aesthetic “tradition”. Always respecting history and its milestones that never go through me in an unnoticed way. It's ridiculous to list Artists. There are so many Masters of the Past. At present I respect Mathew Barney, Jeff Koons, Takashi Murakami and Barry Macgee among others.
4. Choose works or exhibitions from the last ten or fifteen years which in your opinion were very significant and explain why
The Creamaster, Mathew Barney, Guggenheim Museum, 2003.
http://www.guggenheim.org/exhibitions/past_exhibitions/barney/introduction/index.html
