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.
It is difficult choose a single work to hold this place without falling into vagaries. I think a group of works from a period may be more representative of the mood and the context in which they took place.
I want to talk about my latest work (a group of paintings titled "Feelings are feelings"). In them I finish coding a process and a particular type of image. I am interested in simplicity and clarity of the symbols and gestures I use and also the characters gestures. I propose open reading visual situations. The process of the latter works: I called some people who kindly accepted to serve as models (individually). Once the sketches were ready I started working on the supports of the paintings themselves. In this period I was able to work during 12 hours a day or more, usually at night. Some years ago I started painting several works at the same time (five to seven, according to their sizes) and this case was no exception. The technique I work with combines traditional methods and materials with others of present technology. The criterion for selecting them is according to their best performance (in terms of the image wanted). I am currently making a large-format painting (3.88 meters x 2.40 meters) and, when I finish it, it will probably occupy (temporarily, I hope) the place of "The work that best represents me".
2. In general terms, how would you suggest to approach your work?
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?
Somehow we belong to different homelands, homelands that overlap and in many cases do not interfere with each other. In this sense, I would like to refer to painting as a homeland and I think this is the most important feeling when I work, there is my main identification degree. Being an argentinian is a part of me, but I do not try to make my work look like any local artist, or to have a “local air”, I do not care if it seems local or not (It would be like being worried about what I am, to seek what can not be avoid). I feel within several homelands and, in addition to the geographical ones, one of them is my painting homeland.
I guess Rubens must have felt himself part this very last one, when he said that Tiziano was a sort of "spiritual guide" for him, and something similar must have occurred to the young violinist Ingres when he decided his new vocation after seeing the work of Rafael. I mean, beyond the language and culture, art links us, and the power of feeling part of it allows me (adding belongings) to interpret in a local, actual and personal way certain information that is part of the core of occidental culture. This would be a cut that graphics my context and my traditions.
In relation to contemporaries... although there are many proposals that are stimulating to me when I have to deal with my own production, I must say that my work is not influenced by any contemporary artist, it is rather made under the influence of a certain reality that I live, in which elements of different lineages live together and appear with equal force.
I look with equal aesthetic intensity a colorful plastic object that is in a showcase of imported products, a cheap reproduction of a work of art, the original artwork, gigant advertising photographs, religious stamps, a face that strikes me in the street ... and so on. All these elements have a unique poetic that does not go against the poetic other elements have. I feel them in the same way through a mechanism that only seeks raw material for representation. In this sense, my paintings do not arise from certain influences, but they contain them in their constitution. That is my deal with contemporaneousness.
In relation to the names that interest me, I want to refer to them as painters in a plain way (and no "from other generations"). After all, a few hundred years of being dead is not such a long time. Here I mention only a few: Ingres, Bouguereau, Rúbens, Velázquez, Veronés, Ticiano, Rembrandt, Caravaggio, Goya, Vermeer, Tintoretto.
4. Choose works or exhibitions from the last ten or fifteen years which in your opinion were very significant and explain why
There were many good ... but if we talk about 15 years I must have probably lost over 70% of the appreciation in real time. I am afraid that if I have to talk about the recent past I can incur in undesirable perceptual distortions expressing a valuable opinion.