I was born in La Plata in 1966. I am a visual communication designer. During my university years I dedicated myself to investigate the Argentinean popular graphic expression called fileteado, its link to advertisement and street graffiti. I also assisted to the workshop of an old fileteador: Armando Miotti.
In 1994 I received the PROA Foundation scholarship to work in the studio directed by Guillermo Kuitca, located in la Boca.
In 1998 I’ve been commissioned to reproduce two paintings in the murals that were installed in the subway station Carlos Gardel, in the urban area Abasto.
My many journeys to Spain led me to work in a gallery located there and I had the honour to have, in three occasions, my paintings reproduced beside the Spanish Royal Family as post stamps by the Spanish Post. The first stamp was to commemorate Don Juan Carlos Primero’s 25th years of reign in 2001; in 2003, also with the King, to celebrate the 25th anniversary of the Spanish Constitution; and in 2004, when the Royal Wedding was celebrated.
I executed my most important individual exhibition in 1997 with 25 paintings in the National Museum of Fine Arts (Buenos Aires). Simultaneously, Antonio Berni’s retrospective was exhibited, which beat the audience record with over 300.000 visits.
I participated in outstanding international fairs: BASEL-MIAMI, in 2003, 2004 and ARCO-MADRID 1998, 2002, 2003, 2004 and 2005. I exhibited in collective exhibitions in Vienna, Paris, London, New York, Tokyo, Miami, and Marbella.
I received, among others, the following awards: Acquisition Award National Fund for the Arts, Santa Fe National Award (1990); Great Acquisition Award, Province of Buenos Aires Triennial Hall (1990); Acquisition Award Pro Art Foundation of Córdoba (1991); First Prize of the Young Art Biennial Buenos Aires (1993); Second Prize Gunther Acquisition, CAYC (1995); Honour Distinction Fortabat Prize (1995); Acquisition Telefónica Fund for promoting young painting (1996); Second Prize University of Palermo, National Museum of Fine Arts (1996); National Hall Mention (1996); Selected as one of three candidates for Young Artist of the Year by the Argentinean Art Critics Association (1996); Acquisition Award May Bank (Banco Mayo) National Hall (1998); First Acquisition Award University of Palermo, National Museum of Fine Arts (2000).
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 will choose FLOWERS. I explain why. In the 90s I was painting souvenirs, travel mementos that people bought in Paris as well as in Mar del Plata. It appears that there is a universal need to take something of the place we have visited and where we surely had a good time. It’s like wanting to capture the good moments lived through these false relics. I saw something similar happening in wedding parties. At the end of the evening the guests were fighting over the floral center pieces, memories of the party and also an excuse to decorate or embellish dinning rooms or livings, even if it is just for a couple of days. One evening I participated in an award ceremony in TV channel America, where charming flower arrangements where displayed. I asked for permission and, with the aid of other artists, I took all the flower center pieces. The next day I started to paint flowers, a sequence that I continue even today and that I’m especially interested due to several reasons. To paint flowers, I thought, was the worst thing I could do. We had to seek virgin topics, unexplored and that referred to current issues, paintings that appear to be done with objects of today. Flowers were a commonplace (trite), the frowned upon and preferred topic of amateur ladies and Sunday painters. That’s why it seemed the most difficult topic to handle, not technically (because I have painted things even more complex), the difficulty resides in finding an up to date turn to a matter painted throughout all time and today despised. I always think that it is like finding a new move in chess, the effort is huge but, if achieved, the result can be magic. I wish the public could see this turn of page in my modest paintings, done only with oil painting, paintbrushes and countless hours of work and patience.
2. In general terms, how would you suggest to approach your work?
I like to think that once the work is done and over, it must face the public by itself. It shouldn’t need a theory support or me as a guide. All my effort is in the production stage, I think of all of them as children that grow and become independent. I believe I give them the correct weapons to defend themselves alone. When they are done they don’t belong to me anymore.
The interpretation, the search for ideas, the flavour and the essence must be found by the spectator in the work itself. Whoever wants to start the other way around is free to do it but I think that is the wrong way.
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?
Its evident that I have always been interested in hiperrealism - photorealism and pop. I saw for the first time these types of works in New York, when I was 18 years old. Later, I could personally meet Richard Estes, Joseph Rafael and Torrens in Spain. My favourite is Don Eddy, the only painter that really leaves me open-mouthed.
I like many artists, starting from the Englishmen David Hockney y Peter Blake or Malcom Morley, to the americans Rosenquist, Warhol, Bell, Close or Koons. Humour tends to suit me and I enjoy the work of Mauricio Cattelan, Javier Mariscal or Antonio Arroyo (who is a pleasure to listen to). Perhaps there is something of that spirit to the Argentinean artists I followed: Pablo Suarez, Pombo, Harte, Gordín, among many others.
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 pleasantly remember could be Liliana Porter in the Recoleta Cultural Center (Buenos Aires, Argentina), Guillermo Kuitca in the Latin American Art Museum of Buenos Aires, Edgardo Gimenez in the National Museum of Fine Arts (Buenos Aires, Argentina), Harte-Pombo-Suárez in the Banco Patricios Foundation and each of them individually in Ruth Benzacar, the Art Tao in Recoleta Cultural Center with artists that defined a period shaping the image of the 90s.