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’ll choose the last series of works I’ve been working on for the last year and a half. I used two different elements: plastic containers (such as washbasin) and little polystyrene balls. I took the plastic containers, because of their capacity for holding substances, and used the polystyrene particles to fill them. With that idea in mind, I pasted the balls to each other and to the containers, producing shapes similar to those of different components and fluids in expansion; some of them can be seen as “frozen” in an instant of their growth.
2. In general terms, how would you suggest to approach your work?
My work tends to be more abstract or more figurative, depending on the case. I like to work a certain ambiguity into each piece, and leave references to objects or experiments mix together in a single shape. In general, I develop series or sets of works, and I want each work to be read as part of a process or group.
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?
Even though I not always think of my work as sculpture, I do work as a sculptor: I relate to materials, I “invade” spaces. To that tradition I could add some ideas or premises coming from Physics and Biology; influences from comic books, science fiction and animation; painting and some abstract sculptures. Some of the artists that have been most influential for my work in a certain way are: Michelangelo, Medardo Rosso, Lucio Fontana, Malevitch, Joseph Beuys, the Concretists from the 50’s; Pablo Siquier, Marcelo Pombo, Fabio Kacero, Jean Arp, the Minimalist sculptors, Schiliro, Frans Hals’ portraits, Hieronymus Bosch, Pablo Suárez, Duchamp, Andy Warhol, Jeff Koons, William de Kooning, Francis Bacon. I’d like to see more of Santantonín’s and Emilio Renart’s work. As regards contemporary influences, I’ll just mention a few among several I find interesting: Eduardo Navarro, Verónica Gómez, Rachel Whiteread, Daniel Joglar, Claudio Maroni and Sandro Pereira.
4. Choose works or exhibitions from the last ten or fifteen years which in your opinion were very significant and explain why
I’ll mention exhibitions I remember from time to time, which I’ll classify in a general way. They are dramatic, vertiginous, fun or shocking; some others are silent, motivating or novel; austere, triggering, beautiful or disturbing; dark, luminous, surprising, etc., etc., etc. They are: Marcelo Pombo’s Drawings at the Rojas Cultural Center; Jorge Macchi’s “Nocturne” [Nocturno] at the Recoleta Cultural Center; Lucio Fontana’s exhibition at Proa Foundation; Lozza’s retrospective at the Borges Cultural Center; Pablo Siquier’s “zen” drawing at Ruth Benzacar’s gallery; the Tao of Art [Tao del arte] at the Recoleta Cultural Center; Dark Room by Roberto Jacoby at the MALBA; Pablo Suárez’s sculptures at Ruth Benzacar’s gallery, 1997; Ernesto Ballesteros’ “Covered Lights” [luces tapadas] at the Borges Cultural Center; “Sorcery” [Sortilegio], collective exhibition curated by Patricia Rizzo at National Fund of the Arts; Leo Estol’s individual exhibition at Sendrós; Galindo’s short films.