Biography
He was born in Mar del Plata, in 1974.
Between 1994 and 1998, he studied painting at the Martín Malharro School of Visual Arts.
In 2002, in what was to be a fundamental change in his life, he is selected as agrant holder of Antorchas Foundation for the “Clinics on Work Analyisis and Production”, held in Tandil. There, he met Pablo Siquier, his master, his messiah. In 2003, he was part of the TRAMA project in Mar del Plata, with local and foreign artists. In 2004, he received the Grant for Artistic Creation of Antorchas Foundation, and attended Daniel Joglar’s workshop. In 2006, he was part of the INTERCAMPOS II program, at Telefónica Foundation. In 2007, he sells his first work: a brooch for a truck. In 2008, he holds an individual exhibition in Buenos Aires, at the Appetite Gallery, and receives the Creation Award from the National Fund for the Arts.
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.
Let’s talk about “Bijou for Trucks”. I want truck drivers to give a functional use to these objects, to love them, because they love their trucks, their totally-upholstered cockpit, bathed in a red light with its fringed curtains. I want the truck to explode with vanity and bad taste, with a powerful and obscene combination. I imagine the subject taking his truck’s ornaments down from his bedroom’s wall, and the other way around. These are objects that imitate the aesthetics locked and “repressed” in the truck’s cabin: they bring it out, that’s why they are built with materials like velveteen, acrylic, polished wood, and upholstery finishes. Their design takes from the everyday landscape elements formally related to architecture, textile fashion or music, among others. The column-earrings are a clear example of the intersection between these factors, or the shirts for truck drivers, printed with designs of the plants found by the road.
2. In general terms, how would you suggest to approach your work?
I wouldn’t dare suggesting a particular way for spectators to read my work. I do try for my work to make reference to a certain fantastic aspect of an urban rhetoric.
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 don’t consider the term “emerging” to be that terrible. If anything, it is graphic. I’ve been devoted to developing a project I call “work” for the last couple of years. I would say I’m at my career’s adolescence. My role models are the artists that have affected my thinking the most, through clinics, such as the Antorchas Foundation’s I’ve mentioned before. Pablo Siquier is one of them. Others inspire admiration and respect in me, as is the case with Daniel Joglar, and the closest role models, with whom I can share everything, friends like Juan Souto or Fabián Ramos, both intelligent and generous.
4. Choose works or exhibitions from the last ten or fifteen years which in your opinion were very significant and explain why
I would choose an exhibition I didn’t see personally, but which I could enjoy in the Intercampos II program, between April and June, 2006. Rosa Chancho had chosen Luciana Lamothe for an intervention in her space/gallery. That work had the impact on me much grater than any other work in the last few years. It was called “Strength”: Luciana ripped off the gallery’s sidewalk and moved it inside, creating a heap of debris topped with a wonderfully designed logotype/sign, which gave the exhibition its name.
