I was born in Buenos Aires, the 6th of October. I was always very short-sighted and my memories as a child take me back to see myself drawing or painting because I could see very well up close, even today I’m able to see my own pores, my eyes are like magnifying glasses. I went to live by myself when I was 19 years old, I dropped my Diplomacy studies and I entered Fine Arts, which was what I always loved. I got my National Drawing Teacher degree.
By the end of 1988 I travelled to New York City (United States), where I studied photography and I worked doing about everything. By the end of 1989 I travelled to Madrid (Spain), where I lived for two years. There I learned serigraphy and I opened up a studio with two friends of mine, near Alcalá, in a storehouse located in the middle of the countryside that has once been henhouse. There we developed our own artwork and did serigraphs for other artists. That year I also did my first individual exhibition in Buenos Aires, in the Recoleta Cultural Center. In 1992 I returned to New York from Madrid, where I learned techniques to restore antiques and techniques to paint murals for other people.
In 1994 I returned to Buenos Aires because I was presenting an individual exhibition, but I met Pablo Siquier, and two years later we got married -and divorced as well- but it was great. We did a huge party, Marcos López took the pictures and Gustavo Bruzzone filmed the video. In 2000 I won a scholarship in London, to develop a project about how to apply genetic algorithms in the digital image evolution, but I stayed to be Bautista’s mother, so now I live and work in Buenos Aires.
Other important things: in 1996 I belonged to “Taller Barracas” of the Antorchas Foundation, a very nutritious experience; I participated in many exhibitions held in Argentina, Chile, Brazil, Madrid, United Stated; I was invited to the 1997 Biennial of the Habana and the 2001 Biennial of the Mercosur. I am honoured to have an artwork in the MAMBA Museum and two in the MACRO Museum. I’ve been awarded with many prizes that surprise me, which I am very grateful of. I like very much to be an artist, and I like artists. Without a doubt, this profession is the best ever, I feel very lucky.
Reeds [Juncos] (2006)
Forest 4 [Bosque 4] (2006)
Photograph digitally intervened.
All my pictures consist of things that keep starting all over again, all the time, as with my sculptures. I take the decision to finish them at some point, that have to do with the pictorial, the volume, the composition or the colour, but they could continue to any side, and that interests me. I have a book of pictures of the universe, images taken with the Hubble space telescope, which fascinates me. The pictures show what they can, the universe continues to both sides but the Hubble, due to its technical limitation, shows us a trim. That’s why I like to work with photos. In the history of photography exists the intention to capture something and hold it that leads you directly to think about time.
Chameleon Hourglass [Camaleón Clepsidra] (2004)
It’s blown glass that contains coloured liquid that raises and falls thanks to a hidden water pump. A timer divides the impulse of the water pump in small periods of time.
Snake Hourglass [Serpiente Clepsidra] (2004)
It’s blown glass that contains coloured liquid that raises and falls thanks to a hidden water pump. A timer divides the impulse of the water pump in small periods of time. Unlike the others, this one doesn’t have a base, it comes right out of the hole in the wall.
Hourglass Sculptures [Esculturas Clepsidra] (1997-2004)
Natural forms made with blown glass. They contain coloured liquid that raises and falls thanks to a water pump hidden in the base. A timer divides the impulse of the water pump in small periods of time. The hourglass is the measure of time through liquids and is the oldest one ever known.
Lima 1945- Buenos Aires 1997 (1997)
Interactive audio-visual installation with variable measures (35 x 15 cm each object).
Photos, voice digitizers, infra-red (IR) sensors, speakers, mirrors, acrylic, plastic.
This is the last artwork I did with my mom and my grandmother (I worked with the three of us several years, applying different techniques, looking for repetitions, similarities and differences).
The idea is that you can see my grandmother’s house in Lima (1945), according to her perception and listen to what she thought of those spaces. The original pictures were taken by her and they are of her house’s spaces, there is nobody in them and that is very important to for this particular artwork (unlike the other ones, in which we have several bodies each).
Behind the photos my grandmother writes and my mother reads what she wrote. The little boxes are not very big so you have to look at them closely. With this approach the sensors capture your heat and activates my mom’s voice that tells you something about each room. Besides listening to it, you are able to read the text because it is reflected in a mirror.
I like that the only present body and in present and time is the body of the spectator, and that we three are diluted in what it’s seen, thought, said (we are not even included in the pictures).
It’s like an operation of failed resurrection, a poetic Frankenstein.
I choose this artwork because I still like it, and because it’s been a while since I last seen it due to the fact that it now belongs to the MAMBA collection and I would love to see it again somehow.
Mom, mom, grandmother, grandmother, I and I finally on holidays [mamá, mamá, abuela, abuela, yo y yo de vacaciones por fin] (1997)
Collage and digital painting.
Double portrait (mom and I with my mom’s age in 1970). Photograph-serigraphy placed over two tensed and overlapped silk screens (meshes).