In 1992 she graduated from the Fine Arts National Academy.
She received the Pollock-Krasner Foundation Fellowship, the Fellowship of the International Exchange of Artists, Professional and Technical, Ministry of Culture, the allowance to the Creation of the Antorchas Foundation. She joint the Artist in Residence programmes Art programs / Omi, New York, the Wasla Braziers in Oxfordshire and another one in Egypt.
Solo exhibitions: Praxis Gallery, Galerie Daniel Maman, St. Paul Cultural Center, Galeria Nara Roesler, Ruth Benzacar Gallery, Consulate of Argentina in New York and Centro Cultural Recoleta.
Some group exhibitions include: "A world of temptations Castagnino Macro", OSDE Award Mention Photography, "Heirs of Pop", Animal Gallery, and "Order and Correspondence", Sala Gasco both in Santiago de Chile, "Contemporary 11: "Collection", Museo de Arte Latinoamericano de Buenos Aires, "NoTango, Elizabeth Villa, Berlin, Germany," Photography Argentina ", Galerie Ruta Correa Freiburg," Occupied Territories ", Fundación Telefónica," Official brand ", Municipal Exhibition Center Subway, Montevideo, Uruguay, "Transabasto" Konex Cultural City "Danger Zone" Open Studio, Ministry of Culture of the Nation, "II Bienal de Buenos Aires", National Museum of Fine Arts, "Artists of the '90s Argentinos . arteBA Art of Buenos Aires, "Spell" National Endowment for the Arts, "Kunst Soll Das Sein" Kunstverein Freiburg, "Szene Buenos Aires" Werkforum Dotternhausen, Germany "Karina El Azem-Eric Fajardo Ruta Correa Gallery and International Contemporary Art Fair Artbo, Art Frankurt, FIAC, and ARCO'99 representing Argentina by the National Endowment for the Arts.
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.
Maybe because it is one of the most recent: "Evita with the color time" The painting is the same as that used in various objects of Santeria and gift shops, it makes objects change color according to weather conditions. In the absence of moisture, the color is blue and turns to pink, through purple shades. Here relays the belief that these images are predicting rain.
2. In general terms, how would you suggest to approach your work?
I can only tell which have been my interests since I started working as an artist, but I love what happens when the viewer is not led to any particular interpretation. The richness and interaction that it generates are ontologically linked to my inquiries.
The influence of the decorative arts in the development of abstract art of the twentieth century. The decorative art was born many centuries before the art of representation and through the rhythm, symmetry and pattern moral, social and religious looks were communicated. The biological urge to order an item in any particular provision, stones, colored beads or crumbs of bread, satisfies a certain "sense of order" inherent in our human condition.
There are formal grounds which are discovered as suitable to fit into certain psychological dispositions that had not been found before, they are creators of habits. Jug animal shaped, leaf-shaped column: motifs that come from the ancient Greeks, Romans or Egyptians on which we return again and again. They are understood and assimilated.
The functionalist aesthetic drilled a long debate on the ornament and artifice and reached one of its most extreme expressions with Adolf Loos's claims that were distilled in the slogan "ornament is crime".
In 1927, Siegfried Kracauer coined the term "mass ornament" to reflect on the then emerging entertainment industry and the choreography in which the dancers were not recognized as individuals but as being one figure, he questioned whether human life itself was not taking the features of ornamentation and thus established analogies in the capitalist production system. In many works I use as construction materials objects used to kill: ammunition, bullets, caps, most of which were used in the market and reintegrated.
The ammunition used as material for embroidery, craft work traditionally ascribed to women, establishes a parallel with the mass production being this, the job of the industry that pays off more money in the world.
My works are based on "patterns", a kind of embroidery work in photography and computer repeating these matrices and establishing different relation ships of possible meanings. In nearly all my work the craftsmanship and mass production is represented by digital printing in order to accentuate the tension between the false and the real.
I onboard various forms of violence and authoritarianism so characteristic of our idiosyncrasy, using at the same time an archetypal language form: the pictograms.
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?
In the tradition of post conceptual minimalist costumbrismo.
Cárcova, Palliere, Candido Lopez, Molina Campos, Cúnsolo, Diomede, Berni, Peralta Ramos, Greco, Lozza, Kosice, Benedit, Suarez, Kuitca, Ferrari, Jacoby, Grippo, Carpani, Porter, Prior, Polesello, Kacero, Fuertes , Giron, Gordín, Siquier, Hasper, Laguna, Duville, Siegrist, Bonzo, Iturralde ... and Shirin Neshat, Donald Judd, Mona Hatoum, Julian Opie, Kara Walker, Christopher Wool ...
4. Choose works or exhibitions from the last ten or fifteen years which in your opinion were very significant and explain why
Experiences 68, the Tao of art, Crime and Ornament, Cromofagia, Collections of artists, Stella at Malba, and so many retrospectives!
5. What tendencies or groupings from common elements do you see in argentine art of the last ten or fifteen years?
The proliferation of projects generated by artists that foster ex-changes, cooperations and disseminations. Such Basilisk,Trama, Belleza y Felicidad, ramona, Pink Pig and many more.