Biography
Technical school and public university. Other indirect formation through the walls (I attended a M.A. in architecture in an art school where I shared the studio with a painter. Workshops with F. Burgos, A. Herrero, H. Marina, M. dC. Colombo, psi training in school founded by Masotta; did some exhibitions. The controversial concept known as “private life”, explains many of the things I make: a special curiosity for the further-professional senses owned by the projectable or projective: meeting, collision, association, influence – The way things get or stay together (or people); how can an object or action (building, picture, poem) shader or blind another; how a line, so similar to another (or figure similar to background) may change the sense of a drawing –though some think that lines impose spirit to the material, when it is harder, sharper or more elastic imposing to another one… Finally, how something so trivial can become so rare: the fetish-life of a car, pack or tool we have at hand: I think it would be the same mental map of the one buying a toy in the sex-shop than the one buying a deodorant in the supermarket. With the same ideas I teach, or write occasionally.
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.
A work of mine, isn’t it? “Tableau Queer” is a canvass on frame (like artificial country-grass)of 30cm x 50cm, with figures of hands made of polyethylene and packages. It is not recycling; I see plastic in general as a “luxury vehicle” (brightness, smoothness) although it’s cheap and disposable. The sensuality of the domestic packages call my attention, full of “copulas-click”. In these hands, like in other artworks, I sculpt with heating pistol molds of my body. This particular piece will say something on the lived, not dreamed bisexuality…, or not.
2. In general terms, how would you suggest to approach your work?
I wouldn’t suggest to read but to look. I know it may sound as an obvious joke, and that other artists may have turn to similar explanations, but I really do think that you need to look. Premeditated synthesis, personal style: NOT. In the end, after an architectural formation, there is need> association> influence> control: projective scenes. Projective scenes that request to be seen… widely, through “erotic malleability” that harasses certain vulgar objects (Sontag) - common objects with great projective excessive by those objects, it seems to me, they could be mandates of durability, utility, etc. material tests of obsession or fundamental instruments of some training - like in the atavic vision of a courtship that presents/displays, for example, any sanitary set: assemblies of stoneware and chromium that could be seen in the future as we see a pre-Columbian granite mortar now : elements or theaters of projection, produced under the resistance between our sharpness and our infantilism.
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?
Position and tradition… strong. I don’t think I belong. I’m interested in Duchamp, R. Horn, V. Muniz, M. Barney, Idon’tknow. Argentines, for the following question…
4. Choose works or exhibitions from the last ten or fifteen years which in your opinion were very significant and explain why
With Pablo Suarez’ artistic production I have an enigmatic feeling that Works just fine, originated in my architecture rational professor who once told me Suarez was the greatest Argentine artist. A. Seeber’s painting – who has greatly influence me – for the strength of the fantastic stains, with figurative directions (as in Deira’s work) and the resistance to style with style. The friendly-unreachable J. Neumann drawings – unreachable to me since im through a machismo period. N. Constantino or T. Espina’s, with the recurrent question – Why this – what is this? – the fact that there is hand and eye at the same time, the search of a specified expressivity.
5. What tendencies or groupings from common elements do you see in argentine art of the last ten or fifteen years?
I don’t know. I don’t know enough. I see odds and ends, groups of friends, strains attached, great efforts, and at the same the same time, the reflection of a pretty sad class. Only burocrats that have mistaken about their careers and won’t admit it, like trends.