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 look around me, the closest things, day to day things, I hear family stories, I collect family pictures, I take pictures, I think on images, I draw based in those pictures which helps me a lot in the construction of the images
I have been discovering different materialities and, although the image is previous to the final work, many of them end up in textiles. Maybe because of this idea in the work about care and protection.
I spent some time without producing, just thinking how to do it. I have a “petit atelier” at home, which I actually don´t use so much, but it´s still waiting for the right moment.
My production has become autobiographical when I gave birth to my baby. I remember, during a visit of Remo Bianchedi to Paraná, when he expressed this close connection between the work and the important changes in one’s life.
The work that I would choose is “Hug-pillow”, that I produced when I received a grant from the Antorchas Foundation. It´s a pillow that has stuck an arm of the same material and filling as the pillow and hugs you when you lay down on it. It works as an orthopedy of love, of affection. It could be also an adult´s toy, it´s soft, it rolls and you can have it in your bed.
2. In general terms, how would you suggest to approach your work?
I believe with curiosity and slow march. With time. I also think that each work requires a different form of reading it, and this is implicit or explicit. I prefer the work having its own life, and the viewer making his own reading of 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 started admiring my friends when I was living in Rosario, watching a lot of exhibitions, attending to concerts, books, walking around. There's also some family tradition, my mother is a teacher of drawing but she never practiced her profession, she used to illustrate our writing books and do some drawings for the house. She didn't incite my artistic vocation, but to play a lot....and have friends.
Nowadays, the artist has the advantage of being able to build his own tradition, which has not necessarily to be a rupture or continuation with its past, he can make a kind of friendly Frankenstein.
Even more living in a context where you must search or create the situations for exchange and contacts, because the production, circulation and consumption of art is scarce and limited.
You make your own fiction out of the things that you read and learn, there are no strong traditions or institutions that endorse the work of art or show a trend or path, so we live in an ambiguous situation were we're alone, but at the same time we enjoy the feedom of doing things and making mistakes.
The nearest look that I take is at my friends' work here in Paraná, Lucas Mercado, Marco Bainella, Federico Lanzi, Francisco Vasquez, Natalia Zárate, Agueda Guarneri, with whom we share projects. We formed a group, Relatives of the Sea, and we travelled to other cities, participated in exhibitions – Periférica in 2005 and Barrio Joven at arteBA this year- and there will be more in the future.
I like the work of Liliana Porter, the histories and characters of Liniers, the cover art of albums, Keith Haring, the northamerican and argentinian pop, Duchamp, Bacon, Perry Farrel, the videoclips, specially the ones of Mark Romanek, Gumier Maier, Marcelo Pombo, Tracy Emin, Frida Khalo, Marcos López, Benito Laren, “Todo por dos pesos”, and more and more and more.....
4. Choose works or exhibitions from the last ten or fifteen years which in your opinion were very significant and explain why
Recently a friend has lent me the catalogue of the exhibition Anxiety and Devotion curated by Rodrigo Alonso and Valeria González. It has black and white pictures and I found interesting the concept of the exhibition under the influence of these two powerful words, I liked the text and the analysis that they make from the Rojas Cultural Center.
Raspberry from Marco Bainella took place in Paraná, in Casacuevas, and I loved it was produced with bought objects that were put in a particular situation or creating a landscape... you needed to look very carefully and crouch down in order to get each work, very intimate. Furthermore, it was a contemporary proposal, a new territory.
5. What tendencies or groupings from common elements do you see in argentine art of the last ten or fifteen years?
The Kuitca Grants, Antorchas, Trama, Rojas Cultural Center – those were spaces of circulation and education of a great number of artists.
I think that artists in the different cities of the provinces, that are supporting the collective work and independent projects with love for what they do are also important.