I was born in 1972. When I was 14 years old I started a painting workshop because I was fond of drawing at school, but I wanted to learn more. In the first class, my teacher put a cow skull onto a white sheet, in order to use it as a model. It all began there: I had never used charcoal and I was amazed with that new world of tones of grey, lights and shades. The light variations, the broken and the straight line; everything was in that skull.
I am always searching for shapes, angles, spaces. My painting is abstract, I always choose big canvases and I like to use the impasto technique. I usually paint in oils.
I have never sent any photos or works to any contest nor gallery. I only took part in two collective exhibitions, and in that occasions I was invited by other people. These took place in the Recoleta Cultural Center (Buenos Aires) in the year 2000, and in the Law Faculty (University of Buenos Aires). In 2007 I presented some works in Vodeville Gallery.
I studied Fine Arts for three years in Regina Paccis and Prilidiano Pueyrredon schools and other three years in Gustavo López Armentia’s workshop. I studied with Eduardo Correa as well, and attended a critic seminar on the work of Luis Felipe Noé. I took part in several poetry workshops and studied some music in Manuel de Falla Conservatory (Buenos Aires).
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.
“Music” [Música] is the work I choose, because despite the fact that I prefer to work with previous sketches in many occasions, I enjoy the most when I work freely, without knowing where I am going to, and in this case my starting point to work was Beethoven’s music. I painted this work in oils on canvas. It has zones with a slight impasto and some drip. I think that the movement that it generates with its curves expresses the beats, the harmonics and the sensation I felt at the time I was painting. The time of execution of this work was short, almost parallel with the symphony.
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?
The artists that have called my attention the most are many, beginning with Vermeer, Ostade, Rembrandt, Goya, Sorolla, Egon Schiele, Kokoschka, Klimt, Matisse, Cezanne, Braque, Lautrec, Picasso, Kupka, Antoni Tapies, Kandinsky, Pollock, Miró, Pierre Soulages, Francis Bacon, Arshile Gorky, Mark Rothko, Bram Van Velde, Hundertwasser, Gaudi and many others. Among the sculptors, Miguel Angel, Camille Claudel, Rodin, Brancusi, Giacometti, Chillida.
Among the Latin-American artists I am interested in Antonio Berni, Xul Solar, Torres García, Roberto Matta, Frida Kahlo, Wilfredo Lam, Guayasamín, Rufino Tamayo, Tola, Fernando Szyslo, Raquel Forner, Noé, De la Vega, Kuitka, Armentia, Bogo, Cornejo, Pájaro Gomez, etcetera.
4. Choose works or exhibitions from the last ten or fifteen years which in your opinion were very significant and explain why
Thinking about the last fifteen years I choose the work of the Argentinian artist Gustavo López Armentia. In 1995 he made me play by remembering Julio Cortázar in the National Museum of Fine Arts (MNBA), with his installation of a big hopscotch. One year ago in ArteBA exhibition (Buenos Aires) he presented a bronze head that was entitled “The Musician” [El músico], and I found it wonderful. Other works by him that I remember are “Gauchos’ War” [Guerra gaucha], “New Dawn” [Nuevo amanecer], “Cowhand” [Resero], etcetera.
I choose him because of his career and his commitment; because he inspires Utopia; because of the new landscapes and the aesthetics of the ideal; because his work takes me to the fields of poetry.