A long time ago, in a galaxy far far away, I was walking the corridors of the faculty of engineering with Yes and Genesis albums under my arm. One day I surprised myself breathing deeply when I opened my first Expreso Imaginario magazine. And in the bus I read Alan Watts, Erich Fromm, Gary Snyder, and when I bought Red from King Crimson I didn’t understand anything. Meanwhile, I wrote poems with the lyrics of Pete Townshend by my side. Some years later, I used technical drawing pens to create spaceships and strange landscapes in little papers size A5 that were useful to illustrate science fiction tales. In 1994 somebody lent me a hand scanner and the two Photofinish diskettes and for a while I couldn’t sleep well. Fortunately, much later I found Raúl D'amelio and, guided by his implacable point of view, I founded myself as an artist. I also took a picture of me besides one of my paintings hanging in the Castagnino Museum. I then abandoned computers and bought paper, paint and fiber-tip pens. In 2007, while I was looking the other way, “Alice’s song in the Country” (”Canción de Alicia en el País”) received a prize. In 2008, my friends from Cordón Plateado invited me to present my work in ArteBA; I went and I liked it.
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.
Alice’s song in the Country (Canción de Alicia en el País). Is a mind map, an automatic drawing that was born from a Charly Garcia’s song. An attempt to draw/paint without a filter, and there is the net that spreads between the refrigerator and South Africa, between Google Earth and shopping for bread. It’s an invitation to let all in, one YES. And it provokes a little laugh.
2. In general terms, how would you suggest to approach your work?
If my work attracts you, if it makes you walk a few steps towards it… that’s all good. I first want to make you move… and then, move you. If not, you can pass it by… next to it there might be things that suit you more.
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?
Turner, Monet, Rothko. Sandy Skoglund, Jeff Wall, David Shrigley. Animation: Hayao Miyazaki for instance. Or Nick Park, and the people of Pixar, Futurama, Evangelion, X-Files, Millennium, Seinfeld. Anita’s blog (maoylenin.blogspot.com).
4. Choose works or exhibitions from the last ten or fifteen years which in your opinion were very significant and explain why
A notebook made by Adrián Villar Rojas exhibited in the Macro of Rosario (in 2006?): songs, drawings, clippings: life (always life) in a banded notebook. I want that notebook!
Liniers: the transcendental, the ridicule, the high and the low holding hands like good friends, with a transparent and clear perspective.