Biography
I was born in Buenos Aires in 1971. I’m a graduate of the Escuela Nacional de Cerámica N1 I Studied drawing and painting with Carlos Gorriarena, watercolor and pastel with Carlos Nine. I assisted the workshop of Naun Knopp for various years, coordinated by Mario Volchinsky. I graduated from the Escuela de titiriteros del Teatro Municipal Gral. San Martín. I studied clowning and the comedy of art with Cristina Moreira. I made the Raúl Serrano theatre school. I took classes with Bartis.
I’ve shown in various art spaces with various personal works and group shows. I toured in the interior of the country and abroad as an acrobat and did puppet shows for several private and group shows. I've been a teacher of at-risk children for 11 years. I illustrate stories, CD covers, and do drawings and collages for book covers.
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 select this work because it's one of the last I did in this time, practicing and playing with water color, ink and gloss. It's a family of two women two mothers two adults and a girl. It is a white cloth of 1mx1m, painted with watercolor pencil and brilliantine. It's a dramatic sitution of little weight in relation to the materials A lot of water. A lot of space and white. The lunch hour without food with cautious happiness and silence. And a flowerpot character the official. shiny, and useless vegetable man. It is from a series of works with watercolors and ink called "apparitions," which are children's characters or situations which relate to an environment or a mute dialogue with adults.
2. In general terms, how would you suggest to approach your work?
From the "first" gaze of a child. Without conscience of morals, without corporal weight, with the darkness in the tenderness of suffering.
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 believe that post-impressionism initially impressed me. Balthus is a great teacher that always interested me, Frida Kahlo also. The series of puppets that Paul Klee made for his son. I always return to Leonardo, surprised when I tire of looking at it so much, especially his drawings. Annette Messeger…which refers to the installation as well. The watercolors of Francesco Clemente seem delicious to me and they've served me a lot… León Golub…has something in his situations and characters that really impresses me. Turret and C Gallina are artists that interest me. The paintings of Lucas Marín are images that I come back to, to compose my way of re/invisioning my own work and that of other artists with stances rooted in wood sounds light or animals, of which we are. Florencia Temperley, Marcela Rapallo Women that seek in the boy in the line or the image another possibility re the meaning of infancy as a return to the world or a better farewell than this.
4. Choose works or exhibitions from the last ten or fifteen years which in your opinion were very significant and explain why
I like very much the work of J.J Cambre in Recoleta from the curatorship to the apt selection and groupings of works to show. The show of photographs of A. Lestido devastated me, I could only be carried away after looking at such beautiful and devastating forms. Marcia Schvartz in the Sívori was splendid that window and the return to the 80's that meant so much for me, for a whole generation. I like Liliana Porter's world of objects/dialogues. Also I remember the show of J.Macchi in Ruth Benzacar I remember EL DOLOR (THE PAIN) and a small window for looking at as if look at oneself in a photo inside and outside a pained city.
5. What tendencies or groupings from common elements do you see in argentine art of the last ten or fifteen years?
It seems to me that from the 80's there was a group of arts- artists -delicious influential dialogues that I consider as an indispensable part of our current art. From El rojas to Parakultural passing for the kind of rock/perfomance Virus to the puppets on the periphery of objects.
