I was born on September 21, 1974. I’ve walked a long way after I finally decided I’d become an artist. With such a certitude, I drew up my own path, a little bit self-taughtly and a little bit attending workshops and ateliers, trying to avoid formal education. I studied painting with Alfredo Londaibere, as well as drawing, chinese painting and serigraphy. I also dived into the field of engraving and sculpture. I did several individual and collective exbibitions and worked as a professor at the Centro Cultural Rojas, teaching artistic serigraphy. I define myself as a worker artist in relation to the way my work is generated, due to the fact that in myself, the conviction that I was to become an artist was the result of a long trajectory, my work functions the same way. It requires a process that involves primarily the act of making, being in touch with the matter itself, respectful of taking the necessary time for each of the individual works to unfold and take place.
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.
. The work I’ve chosen belongs to a series of 10 paintings that I made between 2005 and 2006, and exhibited within an individual exhibition and the Casona de los Olivera, in Buenos Aires (2006). It is an acrylic on canvas mounted on frame, and its dimensions are 135 cm. x 107 cm. It is an abstract painting, and its theme is related to the residual image linked to the experience of going through the city. I’ve worked on it the same way I’ve always worked: creating a dialogue, from the setting of the canvas until the end of the process. I started out painting carmine red spots, continuing with green drips, layers of varnish, violets, water, more green and white, in order to obtain different colour ranges and vibrations. This painting closes the series mentioned above and marks a turning point in the further development of my work, being a sort of culmination of a certain search, and the beginning of another one.
2. In general terms, how would you suggest to approach your work?
I don’t suggest any particular way of reading it, it seems interest to me that there are as many ways to read a painting as there are readers or viewers, and that is basically the idea of my 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?
I see myself part of the abstract art movement, and I believe that art is esentially abstract by nature. As influences, I could mention: Rothko, de Staël, Kupka, Pollock, Cy Twombly, Basquiat, Xul Solar, de la Vega, Deira, Macció, Cambre, Londaibere; the list is longer.
4. Choose works or exhibitions from the last ten or fifteen years which in your opinion were very significant and explain why
The exhibitions I remember are those of Berni, Roberto Aizenberg, Gambartes, Macció, Batlle Planas, Fader, Soldi and many others. I have fed on them, and they have inspired me.
5. What tendencies or groupings from common elements do you see in argentine art of the last ten or fifteen years?
I tend to perceive a certain tendency to work from what is expected of oneself, and from what the art market, in this case, demands. On the other hand, there are artists that choose to go for a more personal search, leaving some kind of footprint; within the latters there is, I think, a common element: freedom, and conviction when it comes to art creation.