Biography
Born in Buenos Aires,1966.
Studies at the Prilidiano Pueyrredón National School of Fine Arts (1988). In 1999 she is awarded with the Grant for Creation of the National Fund for the Arts. She also joins several residences for artists such the Kuitca scholarship of the Proa Foundation, Buenos Aires, 1994-1995, and the ART OMI, International Residency Program, New York, 1999.
In 2001 she is awarded with the Fulbright Scholarship / National Endowment for the Arts to integrate the residency program ISCP, International Studio and Curatorial Program in New York, 2002.
Performs several individual exhibitions that include: Santa Rosa Museum, La Pampa (2008). Fade, Braga Menéndez Gallery, Buenos Aires (2006). Lokalt landskab, Paintbox Extensions, Copenhagen (2004). Domestic Landscape, Casa de América , Madrid, (2002). Karina Peisajovich and Esteban Pastorino, Spanish Cultural Centre of Buenos Aires, (2001). Lights, Beauty and Happiness Gallery, Buenos Aires (1999). Oils, C.C. Borges, Buenos Aires (1998). Paintings, Mun (1996).
Some of the recent group exhibitions include: White, Centro Cultural Borges, Buenos Aires (2008). To Float, Open Space, Arte BA, Buenos Aires (2007). Illuminations, Malba, Collection Constantini, Buenos Aires (2006). Surface Charge, VCU Anderson Gallery, Richmond, United States (2005). The Shadow, Vestsjælland Kunstmuseum, Sorø, Denmark (2005). Lodz Biennale, Lodz, Poland (2004). Asbaek Gallery, Copenhagen, Denmark (2004). The force, Gale Gates, NY (2002). Antirreflex, CCEC, Cordoba (2002)
In 2005 she was invited to give a talk about her work and visit the artists' workshops of the School of Visual Arts Virginia Commonwealth University, Richmond, United States.
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 choose to describe the work "All the images of the world" a work that I particularly like for its apparent paradoxical lightness and complexity. It consists of a semicircular space painted in a gray 7, which internal wall work as a curve and dark screen. On this, we projected a blind and diffuse spot of light.
Light to its minimum intensity fluctuates misty and almost imperceptibly, leading the eye of the observer to a demanding state that disturbs the boundaries of his vision. A faint and muffled sound vibrates in minimum volumes in line with the movement and the light intensity setting a spatial envelope and disorienting situation.
The curved wall works as a movie screen: a blind movie screen. Here the light is not projected onto a white screen but on a dark field that acts as the negative of a normal cinema screen. Paradoxically, this area, instead of displaying the images seems to be absorbing everything that is projected on it, instead of appearing, the images disappear.
It took months for this work to “mature”. During the process, I thought of all the images I saw, in the memory of an eye exposed to all possible existing images. Sought to perform an operation which aim was to dissolve all the existing images in one, all light and all dark, all colors and all forms. Every day, in my workshop, I used to expose my eyes to the darkness of a spotlight trying to detect how much they could see. Looking for "that" image, the right point of the work. Much later, having already shown the work, I realized that the act of seeing was the image of the work itself.
2. In general terms, how would you suggest to approach your work?
I see my work in a borderline where the specificity of painting gives away in its own codes and traditions, and let itself be contaminated by other languages and thought processes.
The painting is the substance that guides me. However, through its lens, my impulses are more toxic.
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 am attracted towards all the break movements of XX century, especially the Cubism period, the Russian avant-garde, Dada and Fluxus.
I feel affinity with the spirit of that time and I think that it seeps into my work. As spectator I enjoy very much to watch the work as part of the process of an artist. I am attracted to artists who think like artists in everything they do. I am also interested in what happens over time. When I observe them they come within my field. Somehow I dialogue with them quietly. Those that appear in my mind as I write these lines:
El Lissitzky, Kasimir Malevich, Kurt Schwitters, Gordon Matta-Clark, James Turrel, Paul Cezanne, Duchamp, Bruce Nauman, Felix Gonzalez-Torres, Yayoi Kusama, Diane Arbus, David Hockney, Andy Warhol, Gregorio Vardanega, Mike Kelly, Charles Chaplin , Pj Harvey, Johnny Cash, Fabio Kacero, Alberto Goldenstein, Bruno Dubner, Gabriel Valansi, Giorgio de Chirico, Gyula Kosice, Katharina Grosse, Sarah Sze, Martin Creed, Alejandro Puente, Victor Grippo, Roberto Aizenberg, Mariana Obersztern, Roberto Jacoby, Edgardo Giménez, Alberto Pasolini, Eduardo Navarro, Cildo Meireles, Vivina Tellas, Claudia Groesman Silvana Lacarra, Marcelo Pombo, Spencer Finch, Bjorn Melhus, Leonard Cohen, Leo Estol, Yo La Tengo, Maria Guerrieri, Persian Gaston Max Gómez Canle, Silvia Gurfein, Jorge Miño, Jorge Macchi, Fernanda Laguna, Gumi Maier, Fabian Burgos, Magdalena Jitrik Luis Lindner, Larrambebere Patrick, Helio Oiticica, Guillermo Kuitca, The Clash, Joy Division. Henri Rousseau, Alan Pauls, David Lynch, Liam Ming Tsai, Anton Vidokle, Cecilia Szalkowicz, René Magritte, Hernán Salamanco Gachi Hasper, Diana Aisenberg, Madonna
