She was born in Buenos Aires, in 1968. She studied painting in the National School of Fine Arts Prilidiano Pueyrredón, sculpture in the Superior School of Fine Arts Ernesto de la Cárcova and also took the Art Workshop of Tulio de Sagastizabal.
Some individual expositions: 2005 – Braga Menéndez Gallery (Buenos Aires, Argentina). ProjectRoom. 2002 - Braga Menéndez Schuster Gallery (Buenos Aires, Argentina). 2001 – Olivera’s House, Parque Avellaneda (Buenos Aires, Argentina) 2000 – Duplus Art Space (Buenos Aires, Argentina). 1999 – Giesso Art Space (Buenos Aires, Argentina).
Since 1999 she participates in different collective expositions, national and international.
Mentions: 2005 - Skowhegan School of Art, residence for artists (Maine, USA). 2004 – Andratx Cultural Center, residence for artists (Palma de Mallorca, Spain). Trip made with the support of the Antorchas Foundation. 2003 – Kuitca Scholarship. Workshop of a program for the visual arts. Buenos Aires University (Buenos Aires, Argentina). 2003-2005. 2002 – Subsudy scholarship to the artistic creation, given by Antorchas Foundation (Buenos Aires, Argentina).
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 artwork that represents best my last works is “Ensayo-(maleza)”. It’s an installation that I did in Braga Menéndez Gallery in 2005. I was invited to alter a small hall inside the Gallery; it’s a big box (250 x 150 x 200 cm) that stands above wheels. This box-hall, actually, it’s inside a typical hall of white walls, that at some opportunities is a space and other opportunities is a volume. I took these particular characteristics as the starting point for the development of the project. I started working with the tension that was being produced by the opposites in-out, floor-ceiling, up-down. I worked overlapping materials that were of different and opposite natures, which I forced to coexist in one same space. These elements provoked in the spectator the feeling of being in a common place, an everyday landscape. This feeling was sensed due to the fact that several actions that I did had to do with images that I took of places where I’m used to go, real places, pictures of the city’s environment. Organic architectures, spontaneous and anonymous constructions of big urban centers. Natural plants appear to take over a more protagonist role. These ornamental elements of any city house started to replace the decorative designs of my previous paintings. The plants coexist and entangle with plastic materials, such as coloured curtains, which I wrap with plastic film and duct tape, simulating and creating a new artificial landscape.
2. In general terms, how would you suggest to approach your work?
My works are, ultimately, a painting in the space; an installation of a pictorial discourse on the spot.
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 come from painting and I had a long academic education. At this moment I feel close to artists that keep thinking of painting as a contemporary language and in complete action. In my case, since some time ago, I started to question myself about the liberation of paint towards the space. The problematic that I raise is not directed to the destruction of the object itself, but in regards to its transformation. It’s a transformation that comes from the investigation of the basic elements of my work and comes from the need to reduce the painting to colour elements. The results I achieve have nothing to do anymore with the concrete painting; they have opened a path to pure colour painting, space and structure. My contemporary referents are Roberto Aisember, Helio Oiticica, Jessica Stockholder, Luise Bourgois, Franz West and many more.
4. Choose works or exhibitions from the last ten or fifteen years which in your opinion were very significant and explain why
One of the most significant exhibitions was Sebastián Gordin held in Ruth Benzacar Gallery (Buenos Aires, Argentina), by the end of the 90s. I was then working with miniature self-portraits that I afterwards placed in something similar to a box with a transparent plastic cover (where you keep cakes). In his exhibition, Gordin placed his little dolls in beautiful glass or wood boxes, and he used noble materials. That’s how I started to build wooden boxes with glass, and then onwards I developed a whole series of very significant works. It’s not about a particular exhibition, but what matters is that the encounter with Tulio de Sagaztisabal was fundamental for my artistic career. I not only admire his work and its development, but he is also the person who encourage me the most to construct my own language and to learn to ask myself questions about my artwork.