Biography
I started painting when I was 16 years old. I attended different artist's studio, Tulio de Sagastizábal, Diana Aizenberg, Manuel Esnoz, that helped me to work freely and to think my production, and that’s the most beautiful memory I have of that time. As I love the routine, I passed all National School of Fine Arts Prilidiano Pueyrredón, angry, but with perfect assistance. Some classes were very interesting, but above all I remember the theory classes of Claudio Ongaro and painting with Carolina Antoniadis.
I worked in Trama (a cooperation project between artists and artistic initiatives) between 2002 and 2007. I currently dedicate myself solely to “Florece”.
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 take “Florece” as my work. It’s the space I created so as to develop my creative search. It was born of the urge to work doing something that would allow me to sustain myself economically in a tangible way. I felt it was uncertain to sell artworks and I wanted an integral project in my life, therefore I started to create products that possess a state of art.
I think that art is being able to transmit to the world your vision of things and I found in “Florece” a fluid dynamic to achieve it (picture number 1).
I use my garment’s stamps as a channel of communication. In a poetic and metaphorical way, they reflect my actual situation and concerns. Up to now, I have always worked around themes that in a way have been related to my own life.
In this last series “San Remo”, the stamps represent to celebrate life, generated by the energy of a new being that arrives to the world. The arrival of Remo, our son. With Mauro Potenzoni we made pictures of party’s contemporary icons. I’m satisfied with the abstract result of the image but I like the origin of the artwork (pictures number 2 and 3).
“The house’s gallery in the Arguibel Gallery” (“La galería de la casa en la galería Arguibel”) was the first time I worked creating Florece’s identity. I am confident I worked under a state of mind, the one were you bloom, the one were you activate an independent mechanism that has a natural procedure. In that opportunity I was selling plants in cans, inside the Gallery’s space. The courtyard represented the courtyard of my grand-aunts (pictures number 8 and 9).
2. In general terms, how would you suggest to approach your work?
I simply find it interesting to transmit trust in generating independent projects… interdependent. That allow us to transit states of creation. With the liberty to mix communication, form and poetry.
That is the way I invite the public to read our work.
We work with fashion but not for fashion. “Florece” is a state of changable thinking, materialized in stamped clothe and timeless because it doesn’t respond to any fashion or trend.
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?
In the tradition of artists that integrate their lives into art and art into their lives.
I don’t care under which discipline this occurs, nor under which form of communication I choose to explore as long as I find creators searching to make the world an even more kind and comfortable place.
4. Choose works or exhibitions from the last ten or fifteen years which in your opinion were very significant and explain why
I was very interested in the exhibition curated by Valeria González, in which participated Andrea Cavagnaro, Gabriel Baggio, Patricio Larrambebere, Ana Gallardo, Karina Granieri, Agustín Blanco, Eduardo Molinari, Luján Funes. It took place during the Open Study (Estudio Abierto), organized by the Argentinean Post.
Because I’m interested in the artworks that go along a line of thought and the group of artworks presented in this exhibition reflect the exercise of thinking of oneself in terms of being an artist, a cultural operator, a communicator, a creator.
