Biography
I was born in Buenos Aires in 1968. After high school and a schizophrenic change between four "vocations/studies” (none of them art, actually), I started Architecture at the University of Buenos Aires. Three intense years later I finally ejected myself from formal education. Several jobs part- and full-time, and in the meantime a trio after years of study of electric bass, in a SADEM school, and then with a friend. Several bands, several interruptions (today, I keep making music). In the middle of one of these interruptions, and/or part- and full-time jobs, another friend who worked in the digital graphic industry introduced me to the computer world (which already intrigued me), at first using it as a tool. We both shared concerns and searches of other experiences. As I always say to anyone who wants to hear me, it was an epiphany, an “insight moment” in the air, it was like saying: "We got it" ('94). I’ve been working in this area for 14 years: graphics and digital photography, mainly for the advertising market. All these years gave me a know-how with the tool-computer and the image processing, which eventually led to the work that I am producing today. Furthermore, through the advertising I met Claudio Roncoli, who was one of the most inspiring and supporting persons in my life at the beginning of this new adventure (from 2003 until today), which is my current activity in the visual arts, together with (in untidy order of appearance): Laura Zelaya, Guillermo Ueno, Federico Towpyha, Esteban Rivero, Néstor Zonana, Paula Pellejero, Alejandro Thornton, among others.
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.
It’s hard to choose only one, but "Now 8 (Disco Paths)” [“Ahora 8 (Senderos Disco)”], the new format I am mostly working, is what hooks me right now (speaking subtlety). It is an installation, “software on CPU with camera” (in the style of "oil on canvas" or "watercolor on paper"), a zenithal video projection generated in real-time by a computer, which is hung on a base near the ceiling with the projector pointing down through a mirror at 45 degrees, and a video camera pointing to the same projection.
In this way I described it in the draft that I presented at the 2008 National Hall, where it was selected:
"At first you see only a rectangle of white light on the floor. When someone comes walking into the rectangle, the figures begin to appear under their feet, they change size, disappearing some of them and appearing some other, following their paths, leaving a trail behind each one. Several people may trigger the work together. "Now I can add that I was able to mount a work that ‘supports’ those who look/experience, and that I could break the paradigm of the work as something fragile, something to be treated with care, more if you come into contact with it: the contact with this work is the most natural of visual arts, light, and it is all light (its material base is in the ceiling), you "enter" the work, bathed in its light, you walk it, play with it (what a pleasure to see the kids throwing themselves onto it), and the work “looks” at you, and develops with you.
2. In general terms, how would you suggest to approach your work?
I think that, among many other ways, my work can be experienced as a "point of view", an everyday vision. It is a way to test: "you can SEE it like this" (from here), and with several meanings: "it" (object, place) can be seen LIKE THIS, or "you" can SEE like this. Don’t you believe me? LOOK.
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?
These artists attract me, interest me, arouse me, motivate me: Mondrian, Le Corbusier, Mies van der Rohe, Walter Gropius, Adolfo Nigro, Pablo Siquier, Marcelo Pombo.
4. Choose works or exhibitions from the last ten or fifteen years which in your opinion were very significant and explain why
Unfortunately, I have not seen enough. Just as a sample, Pablo Siquier in Ruth Benzacar Gallery.
