Born in Bragado, Buenos Aires, Argentina, in 1962.
2007 – Intercampos Program for Visual Artists, Fundación Telefónica, Argentina.
1998-97- Guillermo Kuitca Scholarhip Program for young artists.
2006 – Argentine Award for Visual Arts – Fundación OSDE (1st. Prize, Painting).
2005 – Argentine Contemporary Painting Contest, Fundación Deloitte (1st. Honourable Mention).
2008 – Dys/Funcional; Alejandra von Hartz Gallery, Miami, Florida.
2007 – Sobremesa (After-dinner), Galería Dabbah Rorrejón.
2005 – Cuarto Punto bis (Fourth Point bis), Galería Dabbah Torrejón.
2004 – Cuarto Punto (Fourth Point), Fondo Nacional de las Artes (FNA)
2002 – Catorce Unidades Mixtas (Fourteen Mixed Units), Galería Dabbah Torrejón.
2002 – Galería de Arte Cecilia Caballero.
1999 – Centro Cultural Borges.
1998 – La Cigale (Inrockuptibles)
1993 – National exhibition halls: Palais de Glace.
1992 – Museo de Telecomunicaciones Telecom
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 instances through which an art work develops itself are the sketch and the effective construction of the piece. The sketch is indispensable to project the piece. Within this stage I try to adjust measures, take decisions as far as its visibility properties. The sketch allows me also to evaluate the procedures to its final making, fundamentally considering its physical properties, weight, thickness and resistance. Each work requires a particular strategy to be carried out.
2. In general terms, how would you suggest to approach your work?
Whenever I work I don’t try to conceal the qualities of plastic lamination or formic, but lay on the inner beauty of the material, which is the contrary to dissmulate it. What I seek is to “expose” it. Formica is an industrial material. The relation with it is fundamentally based in its physical properties: Its thickness, weight, lack of flexibility, colour. All of them are characteristics that induce and provoke my work. The ‘lack of docility’ of the formica inspire my operations upon it. I’d say that its resistance is what really drives me. The colour of the formica is the color of the art work itself; there’s no possible painting; when I choose a formica I know that what I’m choosing is the colour of the art work. My work is not based the theme or the anecdote. What it does is substracting itself from representation. That is to say, the theme of the piece lies on its shape.
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?
My references are Mondrian, Max Bill, Marina Abramovich, Richard Long, Robert Smithson, Pablo Siquier, Andrea Ostera, Marcelo Pombo, Cecilia Biagini.
4. Choose works or exhibitions from the last ten or fifteen years which in your opinion were very significant and explain why
May 2003 - July 2003: Argentine Abstract Art, Fundación Proa; because of what the exhibition and the catalogue proposed and suggested, being as they were, at the same time, two complementary and autonomous fields, manifestoes and theorical texts from artists and critics of the time.