After abandoning an Electric Engineering major at UBA, spent several years swimming in the darkness of existence, until taking up the "hobby" of painting again in the late 80's, an activity practiced in infancy. Concurrent with his "return to painting" studied theater with the master Carlos Gandolfo, studied the methods of a particular form of "psychophysical" exercise created by Susana Milderman and was initiated in the practice of Zen. Of these experiences -among others- has gained diverse elements relating to the development of sensory perception, which has influenced the execution of his body of work and his teaching career. In a first phase, in which "painting–painting" was executed, his images oscillate between abstraction and figuration, but always with a marked Expressionistic tendency. The existential problems of man, his relationship with himself, with others and with what he does, occur in the thematic axis of his work, manifested through constant combinations of shifting absences and presences. In the mid 90's he incorporates volume, initially applied on the plane, but later becomes independent of this, and began to work with sculpture, objects and installations. Has had regular group and solo shows since the early 90's. Among his more recent accomplishments, fit to print, is his inclusion in the Bienal de Cuenca, Equador in 2004, in the Casa de la Cultura del Fondo Nacional de las Artes in 2005 and in the event Cow Parade, Buenos Aires, 2006, in Puerto Madero. Has obtained, in recent years, the following distinctions: 1st Honorable Mention in Sculpture, Salón Pampeano de Artes Plásticas and 1st Mention, Painting, Salón Nacional Juan Manuel de Rosas, C. Cultural Borges, in 2004, 2nd Prize, Drawing, Salón Pampeano de Artes Plásticas, in 2005 and 1st Mention of the Jury, Salón Nacional de Arte Sacro de Tandil in 2006.
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.
Air is an installation that was presented in the Centro Cultural Recoleta in 2001 and in the Bienal de Cuenca, Ecuador in 2004, as part of a parallel official show. The work shows in its lower part, the legs of a stopped man, dressed in jeans up to the waist, from which a great white elastic fabric emerges toward the ceiling generating a sort of conical volume. Upon entering the assigned room for the show in Recoleta (room 10), there were two iron suspenders crossing over one another at the wide central part, they gave me an idea for the work; they would hold "something" that would extend from "a man stopped" in the center of the space… It interested me the to do work based on an external stimulus and "cold" - technical or architectural characteristics of the place- whereby the work was generated from "outside in". Upon presenting the installation in Cuenca, a couple of "surprise" factors came up that intensified their spatio-temporal aspects. The assigned place, a patio of a stunning and beautiful two story colonial house, with its perimeter surrounded by the balcony of the upper story. This, aside from replacing the suspenders at Recoleta to hold and stretch the fabric, along with the stairs that led to them, permitted one to see the installation from different angles and also from above, this diminished the hyperrealist aspect of the work (the legs dressed in jeans) and left in its place an absolutely abstract form. The interior of that conical volume could be seen. On the other hand the translucent ceiling of the patio generated, until nightfall, continuous changes in the lighting of the fabric according to the hour and the state of the sky, reflecting even the passage of clouds. Thus, that work which was born from the mere characteristics of a place was taking on its own life, adapting to and receiving from another context aspects that expanded and fostered its appearance, its sense.
2. In general terms, how would you suggest to approach your work?
Basically I've generated my work from an identification with zen buddhism, trying "to put in scene" (I also had theatrical background) the idea of unity between man and that which is the object of his knowledge. In this sense, and from part of the era in which my work was only pictorial (until the mid 90's), I worked my imagery exploring a kind of “author/work/spectator" fusion. As for how to read the work, replace "to read" with "to perceive", understanding that this latter method is better for the sense of contact with the work not only intellectually but viscerally, intuitively and sensitively. In general, and not only for my work, I see that very few people, whether in the medium or not, dedicate the time for contemplation that this requires. Take the time for each one, an internal time that makes it possible to begin to digest the work. We are used to dedicating to the temporal arts, movies, music, etc. the time determined by them -beginning, development, and end- during which we relax, surrender… a little. Only in this manner is how the work affects us, modifies us, seduces us. In the case of the arts that do not give a set time, and this occurs mainly in the visual arts, we should create it ourselves. I propose to the spectator then, to lend a "physical attitude" concentrating for some moments on their breath - like a basic meditation exercise- in order to receive the work from a certain state of "virginity" from which they can remain in and abstain, if just for a moment, from all kinds of preconceptions, and prejudices and whereby not only thoughts and associations can surface alone but, and chiefly, sensations and emotions. Or, at least, I would ask them to turn off their cell phone for a moment.
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 recognize myself as having basically Expressionist roots, hyperrealists and conceptualists, but I would not inscribe myself within any particular tradition. I am interested in and I identify with artists that have had diverse experiences, that can work alternatively and/or simultaneously with installations, with performance, drawing, painting, sculpture, etc… As influences I could name, among others, Klein, Schiele, Segal, Grover, Longo, Penck, Alberto Heredia, Roberto Fernández (with his work from the 70’s), Peralta Ramos, Marcia Schvartz; Pablo Suárez, With his vivoditos. In short, artists that interest me; Porter, Ferrari, Gorriarena, Gamarra, Longhini, E. Médici, El Búlgaro, Tulio Romano, Diego Melero, Mónica Canzio, Edgardo Madanes, Carmen Pérez, Esteban Álvarez, Macchi, Esnoz, Gravinese.
4. Choose works or exhibitions from the last ten or fifteen years which in your opinion were very significant and explain why
I point out the show of Porter and that of Ferrari, Sala Cronopios of Recoleta, of the latter the image of "baby" Hitler with the inscription in Braille “y Dios hizo al hombre a su imagen y semejanza” ("and God made man in his image and resemblance") in both cases for the capacity of synthesis and the clarity and force of their discourses, of their aesthetics. I also mention the show of Eduardo Médici in Arte por Arte -which presented photographic portraits painted on top so that the image almost disappears and stands out only in some parts- because it arrives, after his characteristic works of heavy, dramatic, material to this more subtle and ethereal image, yet without losing power. I believe this reflects the process of the artist that does not remain with "successful little formulas" but maintains an attitude of permanent investigation.
5. What tendencies or groupings from common elements do you see in argentine art of the last ten or fifteen years?
I see a great opening where the most varied expressions live together, I'm enthused about how new painters continue arising in spite of the prominence of the electronic arts, but I'm more worried about the support, when I see flocks of artists be too "obedient".