I was born in 1977 in Mar del Plata. I draw and write since I was a child. During my adolescence I explored different techniques and materials and began to work and exchange ideas with artists from different disciplines such as theater and dance.
In 1996 I begin to study Industrial Design at the National University of Mar del Plata. In 2001, I become professor in the subject Textile Design 4 (FAUDI). In 2002, I get my Industrial Design title and start to work for the International Fund for Contemporary Art. I participated in workshops, under the guidance of Claudia del Río, Tulio Sagastizábal, Fabián Lebenglik, Laura Batkis, Pablo Siquier, Diana Aisenberg, Rafael Cippollini, Daniel García and Tamara Stuby.
Since 1996, I participate in individual and group exhibitions, some of them related to visual arts and others to design, in the cities of Mar del Plata, Rosario, La Plata and Buenos Aires. I got a scholarship from Antorchas Foundation (2001, Mar del Plata) and other one from the 1st Encounter of Dialogues with Artists (2008, Tandil).
In the last three years, I have approached other disciplines such as theater, dance and film. They have influenced my way of thinking, drawing and writing. I am currently working as a textile designer and teaching Drawing.
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.
“Mirages Of The Girl Of The Arum Lilly” [Espejismos de la niña de la Cala] is the work that represents me the most so far. The project is to intervene with drawings the advertising posters in the streets. The picture shows a collage of 1.10 m x 2.80 m. I choose pictures from different series and make a sticker. Some are complete, others are fragments of other works. I am interested in this work because I take my particular universe to the collective field in order to check it, share it, test it, exploit it, and if necessary, destroy it. The work lays in the action, not in the object-drawing. Once stuck, I contemplate it and leave it. I feel that dragons, flowers and female warriors come to life until they die under an advertising poster.
2. In general terms, how would you suggest to approach your work?
I think the pictures and texts as laboratories of ideas, that will take another form later, be it an action, an object, an installation, a performance. While I draw and write obsessively I do "Action Plans" (conceptual maps) deciding where each set of drawings is going to, and in which will they mutate. The way in which my work is incomplete, is a question that leads to another question. I believe that one way of approaching it is to understand that at that time I show a small fraction of a more complex world, where war, madness and love live together. It is very difficult for a drawing to leave anyone satisfied.
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?
Some of my references are: Drawing Club, Eloísa La Cartonera, Dibujando América Project, Vox Magazine. I am interested in the work of Raimond Chávez Carolina Caicedo, Federico Guzmán, Claudia del Río, Diana Aisenberg, Pablo Siquier, Gustavo Christiansen, Matías Duville, Daniel Basso, Adriana Sasali, Luciana Lamothe, Paola Vega, Analía Baños and Julieta Basso.
4. Choose works or exhibitions from the last ten or fifteen years which in your opinion were very significant and explain why
“Dictionary of beliefs and intuitions” [Diccionario de certezas e intuiciones] by Diana Aisenberg, the drawings of Matías Duville, "Girls" [Chicas] by Enrique Ranzoni, an exhibition of Pablo Siquier in Ruth Benzacar Gallery (in 2003), the installation of Yamandu in Baltar Contemporary Art Space (I cannot remember the name) . I liked the exhibition of Kuitca in the Latin American Museum of Buenos Aires (MALBA).