Biography
He was born in Rosario in the spring of 1973. He graduated from the School of Fine Arts, UNR Rosario. He is dedicated to art in the fields of production, teaching, and recently curatorship, having shown children's work (potential emergent artist) and under-25 young people’s work. In his production, he works with different languages such as photography, interventions, video, animation, net art, painting, drawing ...
He is a web designer, teaches digital design in a High School and works with children making animations and sculptures in a workshop. He collaborates in the subject Color Theory in the School of Fine Arts, and sometimes he makes roofs with his brother who works as an architect.
He wants to travel around Asia.
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.
"Lime" is a project that opens in different parts, on one hand "lime pictures" of glass painted with lime, usually taken from places which are in construction or renovation, in which people leave their drawings and inscriptions by chance. In these the relationships between drawing, painting and photography generate an ambiguous space of representation that interests me. On the other hand, I love making the entire process (as in the intervention of the glass hall of the Contemporary Art Museum of Rosario), painting and drawing; I love the idea that this continues in an anonymous way and collectively travels the road to disappearance (the cycle is finished by simply cleaning the glass with a damp cloth and opening the place –we ought to say that the museum, although it generated uncertainty, was not closed–).
2. In general terms, how would you suggest to approach your work?
Some time ago I thought that my work had been absorbed by the men in black, so I thought in “Action MIB” as a form of neglect, as a pattern of concealment... also as a way to erase what was said but not so much...
“Action MIB” is that point where the need and fear are not exceeded with each other.
The men in black XXXXXXXXXXXXXX avoid the problem in a lovely way (aesthetically (cynically (deceitfully)).
I wouldn’t know...
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 can name a few artists for one or other reason:
Lucas Cranach, Bosco, Jean Michel Basquiat, Cy Twombly, Balthus, Roy Lichtenstein, Edward Hooper, Takashi Murakami, Amadeo Modigliani, Egon Schiele, some anonymous Romanesque artists, Saliceto in his “Chirurgia’s”...
Herbert George Wells, who makes a scheme of universal history, who makes a simple history of life and humanity, who makes the war of the worlds, the time machine and the invisible man.
The Web, which shows faced mirrors.
The Aleph, which is also the web.
4. Choose works or exhibitions from the last ten or fifteen years which in your opinion were very significant and explain why
Leandro Vesco, his work. He also has a very unusual and attractive book; I do not remember its name.
An exhibition by Gustavo Borletto many years ago when I started to see exhibitions. It dazzled me.
A work by Carlos Herrera in which he shows a little fox (or something similar) immersed in a mountain of burgers; because of its madness.
The name of a movie, The state of things and the image repeated on the cover of the box. I do not know well what happens with them but it makes me rest.
A short story: "Waiting" [La espera] by J. L. Borges, which gives me some sweet –aesthetic– sadness.
The combination samurai-Forest Whitaker in Ghost Dog, by Jim Jarmusch.
The Joker in The Dark Knight. Awesome.
