Biography
Born in Buenos Aires, in 1969.
From 1980 to 1983 attended the courses on ceramics and plastic activities given by Ethel Wainer and Jorge Macario. In 1989, the year of his first individual exhibition at the Centro Cultural R. Rojas (UBA), he graduated from the Manuel Belgrano National School of Fine Arts. Between 1993 and 2001 he exhibited twice at the Instituto de Cooperación Iberoamericana, in Buenos Aires; at the artist residence program in Monflaquin, France; at Ruth Benzacar art gallery (Buenos Aires), and again at the Centro Cultural R. Rojas. Among his collective exhibitions, the following can be highlighted: 2001: Odyseé 2001, Gallerie Porte Avion, Marseille, France; 1995: First Art Biennial of Johannesburg, South Africa; 1993: The Tao of Art, Centro Cultural Recoleta, Buenos Aires, Argentina; and 1993, Del Borde art gallery. Fundación Banco Patricios, these last two taken place in the city of Buenos Aires.
In 1994 he obtained the Braque award, consisting on a scholarship in Paris, where he attended the sculpture courses of the École Nationale Supérieure des Arts Décoratifs (ENSAD). He was awarded with grants to creation from the National Arts Fund (FNA) and the Fundación Antorchas. He was invited to three artist residency programs in France (Monflaquin -1996-, Ateliers d’Artistes de la Ville de Marseille -2001- and the Fonds régional d'art contemporain (FRAC), Pays de la Loire -2002-.)
He lives and works in 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.
I choose Scoop’s Golden Book (El libro de oro) from 1993, a robot that emerges from an open book, ripping the page of text. Scoop advances through the streets of city destroying the railways and derailing a locomotive. It is based on the illustration for the 1938 Scoops magazine cover.
2. In general terms, how would you suggest to approach your work?
I think that what I manifest when I create a piece is a complex parasite expression that needs art to survive, a system imitative of art. I try to relate events and objects that do not appear to be connected, but which respond to a logic that involves stylistic and narrative decisions, though not formal ones. All of my work represents a moment, a place and a determined set of influences that arise from my personal research, then, the spectator must deduce its meanings.
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 would define myself as a “Rojas” artist. I am always enthusiastic about seeing new and old pieces by Harte, Laren, Pombo, Suárez and Kacero.
4. Choose works or exhibitions from the last ten or fifteen years which in your opinion were very significant and explain why
In Laren’s first exhibition at the Rojas C.C., there was a marvellous painting of a labyrinth in a house, at night, with lightning. I was impressed by the technique and also seduced by the beauty of the paintings. The same feeling overpowers me when I see Pombo’s enamel-work. I especially remember the day of Benito’s inauguration (I think he did not use a wig at that time).
5. What tendencies or groupings from common elements do you see in argentine art of the last ten or fifteen years?
I do not know.
