September 6th , 1979, My mum was 17 when I was born. I recognized my father when I turned 20 but I was raised by another father who gave me his last name. I always liked animals and have had hundreds of pets. All my life I’ve been obsessed with details, tiny objects, luxurious, antique and beautiful ones, -that very often I stole-. I attended ten different schools. I wanted to study Biology or Literature, but didn’t find my self capable enough. The city of La Plata was too far to study there and the Faculty of Puan too dirty (and there were not benches for left handed). I’ve always been a little lazy, although I can be a hard worker too. I learnt to take picture since very little with my grandmother who was a photographer and architect, she actually influenced me a lot with her hypermodern house, her white formica, the low furniture and the Mondrian reproductions. Also by wearing her Chanel purse with a golden chain as stripe. She was an antique collector; her house was full of bronze sculptures, Chinese porcelains and trimmings. Her hands were full of pink marks and incredible rings. I inherited a red gold Art Deco one with aquamarine.
My third grandmother (the mother of my biological father) taught me what the soul was, and later introduced me to Buddhism. She is my favorite grandmother, she can no longer walk.
I started producing my own art works three years ago. I studied carved stone glass and emery, which is a technique used in the fine glassware business. I’ve always been delighted by decorative art. Nowadays I investigate the gold leaf and study sculpture. I’m also planning an intervention and a dangerous performance.
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 enjoy working on fine materials such as glass, crystal, paper, wood, stone and gold. I find it very hard to choose one work to represent me, perhaps “The triple jewel”, It is an oval glass that is cut with a foot potter’s wheel and shined with three different brushes and two different oxides. I learned this technique during 2006 and 2007 at a workshop of glassware in Quilmes.
The figure is in the centre and looks like a pen, a jewel or an amulet. It resembles an ancestral object but at the same time an object from outer space, alien like. I would like my work to interact with some kind of spiritual atmosphere that awakes “underground” flows in our minds and that could make arise from our inside a subtle felicity and familiarity, an internal spring. I often find my works a little melancholic and within a wistfull atmosphere. Like an object from the past that after a long time we have found by chance, an object that reminds us who we really are.
2. In general terms, how would you suggest to approach your work?
I suggest to see my works relaxed and lucid. With an open heart.
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 recognize my self in the Romantic Apocalyptic tradition. My contemporary references are Jeff Koons, Anish Kapoor, Louise Bourgeois, Hugo Soto, David Lynch, Matthew Barney, Fabio Kacero, Rogelio Polesello, Alejandro Jodorowsky, y Olafur Eliasson among others.
I admire and enjoy a lot artists like Étienne-Louis Boullée, Leonardo, Medardo Rosso, Delacroix, Ernst Haeckel, Caravaggio, Malevich, Frank Lloyd Wright, Carlos Thais, Carl Sagan, Walt Whitman, ebanistas y artesanos del siglo XVIII y XIX, Gustave Klimt and the ikebana, ikenobo, origami and other Japanese traditions.
4. Choose works or exhibitions from the last ten or fifteen years which in your opinion were very significant and explain why
The recent exhibition of Jesus Soto in Proa foundation actually drove me crazy. I had never seen something so generous in my life. Do not exactly remember what year it was. During 2007 I particularly note the Pombo showing at Ruth Benzacar. “ The fisrt moderns” and the Cinally retrospective at the Museo Nacional de Bellas Artes, The Max Gomez exhibition at Braga Menendez and “Glasses from the 50s in Sweden” at the Decorative Art Museum. Also loved the bonsais exposition at the Japanese Garden.
2008 was very poor to me, only would note the bronze pieces of Liliana Maresca at the Cento Cultural Recoleta and the five hypnotic Cheetah that you can find in Temaiken.