I was born in Munro, in the 1st of May of 1962.
Father is a travelling salesman with cultural concerns. Mother is a high couturier.
I liked many things, but I remember that since I was just a little girl they pointed my predisposition towards manual crafts (however I wanted to be a singer).
I studied in the National School of Fine Arts “Pridiliano Pueyrredón” and I was already painting landscapes and people, as well as doing handicrafts. Later on I assisted Luis Felipe Noé’s artist’s studio and I realised that painters exist.
I made my first exhibition in Recoleta Cultural Center, when it was directed by Miguel Briante. I kept on doing some more times until the last one, in December 2007. I also hanged paintings in places that had little to do with galleries but have a very intense cultural production, such as Rozarte, el Parakultural, La Catedral, Ave Porco and more.
As I was raised in a sewing workshop and I love fabrics so much, so every once in a while I make costumes and scenery for actresses friends. I currently collaborate in Las/12 making illustrations.
I work with remains of constructions that have been polished by the river, with cement and other things I pick up and keep until I find their meaning.
I live and work in La Boca, 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.
In December 2007 I set up "Cualquier cosa no es cualquier cosa (aunque parezca)" in the Recoleta Cultural Center. It consisted of 500 paintings that had between 15 and 60 cm of side. They were all made in around 10 years. The setting up lasted 4 days with their nights, and it was a mystery to me to see the final result, how they would all look together. I first thought of climbing plants of different families that would climb up the walls until they reached the ceiling of Hall number 12. After that, the vegetal idea transformed into aquatic or colour sensations. The paintings started to advance and take over the hall in an organic way. Those that were more related with air where places in the upper parts, including the ceiling. The ones that were related to the earth were places near the floor. The toys were piled up in the corners. The garden was expanding in all directions. The love was in the center of the hall and, like this, everything found its place. It was great.
2. In general terms, how would you suggest to approach your work?
Broadly, I would suggest that it is looked for a while instead of reading it.
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 like to watch Argentinean painting: Prilidiano Pueyrredón, Sívori, Berni, Quinquela, Pablo Suárez, Yuyo Noé, Marcia Schwartz, Molina Campos, Cándido López, Pombo, Carla Benedetti, Fermín Egúia and I’m sure I forget many.
4. Choose works or exhibitions from the last ten or fifteen years which in your opinion were very significant and explain why
- León Ferrari, that with his last exhibition in the Recoleta Cultural Center was able to achieve the national controversy that we so much desired.
- Pablo Suárez, with the direct and sensitive nonchalance of his exhibitions presented in the 90s.
- Adriana Lestido with “Madres e Hijas” that made my -and many others- cry non-stop.
- El Búlgaro, with his dogs, toads and fishes, that adorable and tremendous fauna.
- Fermín Erguía with his last exhibition held in the Recoleta Cultural Center, in which he created an intimacy that made you want to stay in the artwork.
- Carla Benedetti and Paz Mari, in their Palermo’s exhibition held last year, where they achieved a very special place where paintings shine.
- Yuyo Noé, his skies and Amazonia jungles that always return, always are there.
- Rómulo Macció, a painting he did of water which he hanged in the last Open Artist’s Studios of the Port in 2005.
- Ana López, the female fragility, the artwork made sentence.
- Mónica Millán, and the unstoppable quest to represent her jungle the house.
- Fernando Fazzolari, the inexhaustible plastic and oral activity, presented in his retrospective displayed in Fine Arts Museum.
5. What tendencies or groupings from common elements do you see in argentine art of the last ten or fifteen years?
I sense an invasion led by photography, audiovisual media and mass production that allow artists to be in fairs, biennials, galleries and collective exhibitions at the same time, as the system demands.