I was born in Argentina, and a few months later I moved to Mexico until I was 17 years old. I came back to Argentina, I studied cinematographic animation, architecture and set design (scenography), but none of those were finished. I dedicated myself to do courses of all type, as any rich lady would do, but mainly related to comic strips. I assisted to Pablo Sapia, Miguel Repiso and Elenio Pico’s workshops. I self graduated as a cartoonist making the magazine Yo no fui with Denise Turu. I actually work as a national tax administrator, in a public bureau.
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 currently working -for 9 months now- on a real comic strip which I create every Wednesday. I was invited to perform in a colective project called Real Comic Strips [Historietas Reales], where the only basic premise is to tell your own story in frames. My work, On how I made myself rich and famous [De cómo me hice rico y famoso] it’s only relevant in relation to the work of the other 14 artists involved and to the innovation to use the Web as a way to publish the graphic pieces (which always needed a paper support to come out and appear). In a country affected by crisis this is an excellent choice that led to 1.000 daily visits.
2. In general terms, how would you suggest to approach your work?
With humor and basically with a critical, cynic and irreverent point of view.
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 comic strip maker, drawer, writer. Argentinean referents would be the staff of Tripero, the staff of Suélteme, the staff of Lápiz Japonés. And in general people that make comic strips in an independent way, the producer, the Independent Comic Strip Makers Association of Rosario, of Tandil, the Aquelarre group of San Nicolás, the Unhil of Tucumán, etc. Foreigners would be Jis, Trino, Falcon, the Mexican graphic humorists (Fisgon, Helguera, Magu, Ahumada, Rius). The comic strip artists from the american under scene, Peter Bagge, Jhonny Ryan, Onesmith. And Vuillemin, Reiser of France. I’m interested in previous generations, Robert Crumb, Norman Maclaren, Tex Avery, and subsequents: Cristian Turdera, Liniers, Terranova.
4. Choose works or exhibitions from the last ten or fifteen years which in your opinion were very significant and explain why
Gordín in Ruth Benzacar, the one of amazing stories (I think that’s its name), the colective exhibitions Portuñhol and Evolución. One that was presented this year in the Spanish Cultural Center of Buenos Aires (Argentina) of Spanish Contemporary Comic Strips and another one that was held a couple of years ago on what used to be the ICI that now is the Spanish Cultural Center of Buenos Aires (Argentina) of comic strips that was inaugurated –if I’m not mistaken- with a lecture given by Elenio Pico, Podetti, Mosquito y Julián D’Angiolillo.