I was born in Santa Fe in 1973. I started my art studies in the early 90s. In 1995, together with a large group of local artists, I joined the "Entartete Kunst" which became very important in my training.
In 2004 I was selected as a Fellow of the Antorchas Foundation to attend production meetings and analysis of work workshops for artists from Santa Fe and Entre Rios. In 2005 I participated in the workshop El Levant, in the city of Rosario. These two instances, the contact with other contemporary artist and learning about other realities different to the art scene of my city, encouraged me to create together with visual artists Fernanda Aqueres and Cintia Romero, GERMINA fields/contemporary, a nomadic space for cultural management. Our purpose is to disseminate the work of contemporary artists from our region and to enable the emergence of new areas of improvement. In November 2005 GERMINA fields/contemporary participated in Peripheral: 1st meeting fair for art spaces run by artists which took place in Buenos Aires and where we received the first prize for best booth and self-management project given by Galicia Bank.
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.
Undoubtedly, I choose "Pending", a project-work that mutates and grows. It consists of tangles of knotted strips of cloth, 10,000 nodes of different textures and colors that I collect in my emotional environment to be re signified in 10,000 knots-miles that rebuild a certain link. But this same work is transformed into a huge awaiting "ball of hopes" that grows over time, the nodes are now minutes of wait. What moves me to do it? ... personal apologies, exodus, travels and absences. At the end, when you look at the work, it vanishes in countless associations. What interests me is to take the used fabric (with all the emotional baggage that entails) to recycle it and use it as available material for work, and then to undo it, making a work with none economical resources. After this work I addressed another project: Birdies, (pins, etc.) having in common the idea of continuity and transformation in a meaningful process.
2. In general terms, how would you suggest to approach your work?
I am not interested on suggesting one specific way to read my work, each one makes his/her own reading.
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?
"Tradition? ... I do not know. I do know who are my reference points: the more immediate, my friends: Cintia Clara Romero, Fernanda Aqueres, Pachu Arce, Ponchi, Diana Marchetti, Sandra Carriel. The boys of Paraná: Federico Lanzi, Lucas Mercado, Marco Bainella, Natalia Zárate, not simply by being friends, but for sharing aesthetic tastes, music, outings and talks which makes us establish ties and incentives to keep producing. Other artists of my generation that interest me: Gabriel Baggio (I die for "Conversations"), Leo Chiachio and Daniel Giannone, Fabrizio Caiazza, Agnes Martino, Lila Siegrist and Román Vitali, among others. I also feel that my work nurtures from the graphic design, fashion and objects.
4. Choose works or exhibitions from the last ten or fifteen years which in your opinion were very significant and explain why
Recycle xx - (the work of Pachu Arce and Sandra Cuggini) - Santa Fe-95. The experiences of Entartete kunst-Santa Fe-95 to 97. Machi-Ruht Benzacar-Buenos Aires-98. Experiences di Tella - Buenos Aires-Proa-98. Cynthia Romero-MAC-05. Leo Chiachio and Daniel Giannone -MACRO-06.
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 if I can talk about groupings or trends, but of common "post workshop" aesthetics. The actions of self-conducted groups that generate very interesting movements.