Born in Neuquen, Patagonia, Argentina, in 1971. Lives and works in Barcelona.
2008 – 1+1. Platform nº1, Tarragona.
2007 – 1632-1967. Platform nº 4, Tarragona; 1632-1967. Pilar Ribreaygua Gallery, Andorra la Vella; Res. Juan Sanchez Museum, Rio Negro, Patagonia, Argentina.
2005 – Spaces/Emptiness. Kalos Gallery, Barcelona.
2004 – Spaces/Emptiness. Carmen de la Guerra Gallery, Madrid; Memory of the asset lost. Pilar Riberaygua Gallery. Andorra la Vella.
2002 – The “Meninas” and Velazquez as excuse. Kalos Gallery, Barcelona.
2001 – Ceferino Namuncura, Arcimboldo Gallery, Buenos Aires.
1999 - “Patagonia”. Arte x Arte Gallery, Buenos Aires; Ceferino Namuncura, Juan Sanchez, Rio Negro, Patagonia, Argentina.
1997 –“ San Cayetano Postal Cards”, Arcimboldo Gallery, Buenos Aires; “San Cayetano Postal Cards”. Cultural Center of Recoleta, Buenos Aires; “Tribute”. Juan Sanchez Museum, Rio Negro, Patagonia, Argentina.
1995 - “Tribute”. Andreani Foundation, Buenos Aires; “Tribute”. “Cooperative Bank of Caseros” Foundation, Buenos Aires.
1994 - National Boards of Culture, Palais de Glace, Buenos Aires; “Cooperative Bank of Caseros” Foundation, Buenos Aires.
2008 – Arc '08. Madrid. Antonio de Barnola Gallery; Maco '08. Mexico. Antonio de Branola Gallery; “Mostra de cartells” of the Terrasa Jazz Festival, Terrasa.
2007 – Singular 7. Victor Saavedra Gallery, Barcelona; Collective. Wussman Gallery, Buenos Aires.
2006 – The Figure at the Museum Collection. Juan Sanchez Museum, Rio Negro, Patagonia, Argentina.
2005 – Collective of Korean and Spanish artists. Carmen de la Guerra Gallery, Madrid; Art Miami, Carmen de la Guerra Gallery, Madrid.
2004 - “Alegria”. Kálos, Barcelona; Collective. Fecit Gallery, San Feliu de Guixols.
2003 – Ramon Masolivier Award, Montcada i Reixac; Suicide. Kalos Gallery, Barcelona.
2002 – Collective of Argentine Artists. Kalos Gallery, Barcelona.
1999 – New Painting Saloon. Palais de Glace, Buenos Aires; February 3 National Saloon, 2º award obtained, Buenos Aires; Manuel Belgrano Saloon. Sivori Museum, Buenos Aires.
1998 – February 3 National Saloon. Buenos Aires.
1997- Drawing and Engraving National Salon. Salta's Museum, Salta, Argentina. Pro Art Salon, Caraffa Museum, Cordoba, Argentina.
1995 - Autumn Saap Salon, Sivori Museum, Buenos Aires.
oil treated with sandpaper on canvas. Cartographies Series/Digital Art.
Res II (2001/2006)
oil treated with sandpaper on canvas. Res Series – Rembrandt Series.
Vision of art
In my case series often finish when a new stimulus appears, and if that new stimulus is really intense, it's hard not letting you go through it. It's important to maintain the intensity in the work and when it doesn't happen I think the best is to begin with something new.
Like it happened in some series in which I stayed frozen like for five years. Until a new sensation appears and you feel like that moment is the right one for a certain work and also because you have processed the work emotionally and or technically, you find then the tools to develop the idea, the impulse.
When the idea appears I start making sketches of how I would like to develop it, many transformations take place, from the beginning until the final work which is often very different from the first sketches.
For each series I use notebooks for taking notes: extracts from others books, notes that I take from movies, newspapers, works of other artists in relation with my subject, music, etc. Music is one of the most attached elements to my process of working at the workshop.
With some series I've used photography as a tool for documenting (sequences for a ladder, Nocturne), with other series I've used drawings with the same function (Spaces/emptiness, Res, Water like fire), and collage (1632/1967), and still photographic appropriation (Postales de San Cayetano, Ceferino Namuncurá, Jazz, Acuache, Memoria del bien perdido), and in Digital Cartographies I've asked for collaboration of friends who have lend me their fingerprints for the project.
Generally the materials I use are oil on canvas or on paper, applied with paint brush (series Secuencias para una escalera, Espacios/Vacíos, Velázquez and Las meninas como pretexto, Memoria del bien perdido, Agua como fuego, Ceferino, Postales de San Cayetano, Acuache, Jazz), in some I've used copper as media (serie Ceferino, Patagonía), I've tried oil with abrasive materials (series 1632-1967, Cartografías digitales, Secuencias para una escalera, Res) and tried with thread too (series Cartografías digitales).
Berni at the National art Museum
Noe at the National Art Museum
Benedit at the National Art Museum
Remo Bianchedi at the Cultural center of Recoleta, and at the Palis de glace Gorriarena at the Contemporary art Museum
Stupia at the Cultural Center of Recoleta
Iglesias Brickles at the Cultural Center of Recoleta
Berni correlatos at the Malba Museum
Daniel Garcia at the Ruth Benzacar Gallery
Leon Ferrari at Arcimboldo
Oscar Suarez at Diana Lowestein
Marcia Schzartz at the fernandez Blanco
Diego Perrotta at Albertos Elia
Nine at the Cultural center of recoleta
Kuitca at the Palacio Velazquez, Madrid
Jorge Macchi at La Casa Encendida, Madrid
Fabian Marcaccio at the Joan Prats Gallery, Barcelona
Horacio Coppola at the Telefonica Foundation, Madrid
Gustavo Roldan at the Mercado Gallery, Barcelona
Argentinian Plastic Artists, Kalos Gallery, Barcelona
Laura Lio, Antonio de Barnola Gallery. Barcelona
Patricio Reig, at the Segovia Isaacs Gallery, Barcelona
Aurelio Garcia, at Signes Gallery, Barcelona
Nine at the Norma Comics, Barcelona
Pat Andrea at the Victor Saavedra, Barcelona
From this viewpoint I can see the richness of our ways of seeing and understanding things.
It would be great if we could have the chance to show our work outside Argentina with institutional support and diffusion, as I said, I think we have a way of seeing things, and we can do something to be included into the contemporary art history.