I was born in Bariloche in 1978. I spent all my infancy and adolescence in Bariloche, always interested in learning about the nature of that place. When I finished school I went traveling like 6 months and when I was back, I went to Buenos Aires to study Arts. I finished studding and I stayed working. I've been assistant for Carolina Antoniadis and Esteban Alvarez in their professorship, I've worked in art spaces, I've been Lucrecia Urbano's assistant in her Graphic Studio, participated in some exhibitions and I joined to a group of good friends, also, very good artists. At the year number 8 of being gone, I went back to my birth city. With a botanic professional we worked in the survey of the Steppe Flora, I realized the drawings. I give Drawing lessons in my own studio. Since I came back to Bariloche I've participated in many exhibitions in Buenos Aires and in Bariloche, and little by little an art net is growing in the region. I participated in Studio 13 workshops in Gral. Roca and the last year I won one price at the I Comodoro Rivadavia's Art Visuals Salon.
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.
“Notes about Flora” is a work that I enjoyed a lot doing. I worked with a Biologist revealing the Patagonia Steppe Flora, she had contributed with a scientific knowledge and I draw. During 6 years we'd explored the region looking and discovering plants. I could relate infinitely the trips and anecdotes, but I will leave that for an other moment. This works has, for me, many aspects which I'm interested with. By one side, I've been always interested in learning about nature, and I believe that drawing these plant were the best way for knowing them. By another side, I'm interested into the dialog with other professionals, and it was an enriching experience to work with somebody with whom I share the same fascination for an environment, but with totally different points of view. I've learned about botanic,about the relation between plants and humans, about relations between plants and animals with their environment. I've learned about the region, about geography and history. Well, I've learned about innumerable interesting things. On the other hand, I think it confirmed in me a way of working (and here I try to find the common factors in my works) that has to be with the place where I live and learning about that. I like to walk, being out, to observe, listen, and my work always tries to reflect and think about that. My works also has a certain relatively long time for production, in some more than in others, but is always subordinated to the time of that what I want to “register” and not (or maybe yes) to my personal times. I like to work in-situ, I can't work from pictures. I need to be in the place to perceive it. The place is really important for me and if it's necessary to travel, I do it. There is always a route, a transfer, I need to move to go searching something I need.
2. In general terms, how would you suggest to approach your work?
In the first answer I ended answering both.
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 feel totally related to traveler artists, from that period before XX Century and more related to some British women artists whom went traveling the world, with their heritage under their arms (not in my case) ant their paintbrushes in their bags. I feed my self from them. I also recognize my self with the Land-Art artists, specially with Richard Long, because of his long walks. I idolize Ana Mendieta, instead of feeling every time more unconnected with her. The postals and pictures of the On Kawara times. In relation to my contemporary referents, there are some works that I keep always near to me: “Trousseau for a conqueror” by Mónica Girón, in which she knitted with her hands the Patagonia birds suits; a Res work, that I don't remember how it's called , but he took pictures of some places from the same point of view that those pictures were taken a century before. The catalogs and landscapes of Margarita Wilson-Rae. The work of Mónica Millán. The painted landscapes of a Chilean in Valencia's Biennial.
4. Choose works or exhibitions from the last ten or fifteen years which in your opinion were very significant and explain why
I've been thinking and thinking in which exhibitions are still in my memory from the years I've been in Buenos Aires, and from the times I visited. There are more exhibitions that I would liked to see than the ones I've seen really. I loved Valencia's Biennial all the times that someone old about it, the same with Sao Paulo's Biennial. But from what I've seen, I felt like a touching exhibition was Victor Grippo's at Malba. It was incredible to see all the complete work of an artist from whom we've seen and heard always in catalogs or because someone told you. Berni's engravings at the Modern Art Museum: I realized that everything I have done like engraving at school wasn't engraving at all...The Irresponsible Art exhibition at PROA comes to me at certain times, specially Arthur Bispo's works from Rosario. I liked a lot the Valencia's Biennial exhibition at the Recoleta Cultural Center, in 2006. Macchi's exhibition at Ruth Benzacar. I don't know if these are or not significant to Art History, but these for one or another reason are still registered in me.