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.
All my works are representative, but I choose my paintings for talking about my work. I started with painting, I identify myself with that language, it makes me feel comfortable. I would choose “Ribbons”, because it's my last production. It belongs to a series of paintings of weddings, it's familiar to me, beause it's a recurrent subject in arts, considering also the tradition in Tucumán about this subject, the topic also arises from a family's album picture and it's a ritual that takes part of our culture.
At the same time it emerges unknown and strange for me because of its pictoric treatment and its image, the plain colors, the unidentifiable persons -women- and the frozen instantaneity of an image that belongs to the past (the 70s).
The plain dimension shows respect for the function of color, leaving aside the fictional tridimensionality in painting.
In this case, the past becomes more relevant for me than a present fact, not because of its importance, but the distance that becomes into a gap with what hasn't been lived.
A more romatic past and less “light” than present time. Speaking about the 70s is not something “light”, I don't do it from a political perspective but from the photographic experience of my family, there is no elusiveness in what is historical, is the photography that “speaks” through its image.
The english word for the title of my work [t.n: “ribbon” in the spanish version] tried to show some distance, but now I'm not sure about it. It could sound as related with advertising, even familiar at this time, as in “Nilda's Garden”, because there are some shops in Tucumán with this kind of names, it was very tipical to name little comercial businesses with that type of names.
RIBBONS uses the photography for becoming paint and color, interest for the special moment of family pictures.
2. In general terms, how would you suggest to approach your work?
My work can be read from the back to the front or the other way round, or starting somewhere else, each work is connected with the others. There is an intimate discourse that I find joyful and dangerous, that's what keeps me at his side.
From drawing as a primary expression, up to other works that involve space, light, time, there is one common point which is the intimate one. My corpus of work comes from simple and recurrent concepts as human relations, love, loneliness, day-to-day things, memory, the ritual.
At present time I use the photography and the narrative for my production (short story).
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 feel myself totally in the present time. Despite the influence of the past based in old pictures or the family's album, there is a new meaning of that in my discourse.
I'm interested in remembrance and its causes, its transformation through time, I'm interested in familiar things, day-to-day things, something that i know, that I can tell and disguise.
In the contemporary, I found support in the collective work with the group Menos nosotras dos, it was a place of constant triggering (of ideas), with interesting ludic activities in each meeting.
Groups as Los Pasteles Rojos were also doors to another story that motivated me as a spectator.
There are also the young artists, colleagues and friends with whom I share hundreds of thoughts and ways of doing things, including Lorena Kaethner, Guillermo Stefani, Pamela Desjardins. Artists that were inspiring for me, that made a “click” on my head were: Rosalba Mirabella, Sebástian Rosso, Javier Juárez, Sandro Pereira, Pablo Guiot, Carlota Beltrame, Rolo Juárez, Lobato Coronel, among others.
4. Choose works or exhibitions from the last ten or fifteen years which in your opinion were very significant and explain why
I'll start mentioning Rosalba Mirabella with an exhibition colled Portraits that she made in Tucumán at the Virla Cultural Center in 2003. It was an interesting mixture of traditional (thumbnail) and contemporary production. Painting without painting an exhibition curated by Felipe Noé, at the Spanish Cultural Center. Noé's text was significant for me, I realized that painting wasn't dead, but its limits became fuzzy, and no matter whether it was painting, sculpture, performance or net art, the important thing was doing it right.
I'll name Elena Nieva (videoinstallation) and Mónica Milán (installation). Traffic an exhibition curated by Laura Spivak at the Chateau Carreras Cultural Center in Córdoba.
I was interested in the heterogeneity of the proposal and the idea of bringing an exhibition to a distant place. From that exhibition I'll name Laura Spivak (installation) and Elisa O'Farrell (photography). Lila Siegrist and her work with Chihuahua and Pekingese dogs, I saw that one at the Chandón in Tucumán (2005). I liked that one because I couldn't stop laughing about the coloring and the use of mistakes in the production (photomontage). I'll also mention two works from Los Pasteles Rojos: “Del Dicho al Hecho” and “Pancho con Poncho” at Chandon in Salta (2006).
Funny, fresh and popular. Orientasen by Guillermo Stefani, an exhibition that took place in a cinema in Tucumán. Short but done, I liked the details of that exhibition.