I was born in Vicente López, province of Buenos Aires in 1965 and I currently live in the neighborhood of Belgrano, in my apartment/studio/rehearsal-room. I have been working with music for more than 20 years (record label), I participate in the experimental percussion ensemble Agua de Río, I attend the contemporary art work clinic by Fabiana Barreda, I take painting and photography lessons, practice yoga and psychoanalyze myself.
For nine consecutive years, the sculptor and professor Edgardo Madanes was my teacher.
Since the early 90’s I have been experimenting with sculpture (plaster, polyester, cement). But at the end of 2001, and due to the great economic crisis in Argentina I was force to research on new materials to make my work and it was back then when a deep change in my creative process was activated, I found new alternatives and different strategies for my work.
I was collecting materials for recycling or disposal materials.
The last works produced are paintings and optical objects, made on cardboard, paper, plastic along with visual-sound-light performance that allowed me to include the interaction with the viewers who participate and intervene the context (installation, objects, videos, slides and sound).
I have participated in group exhibitions, showing objects, textile art, painting, sculpture and installation.
Solo exhibition in Crimson Gallery in May 2008, visual-light-sound performance in July 2008, chosen for a group show of textile art in Museum of Popular Art ‘José Hernández’ in August 2008, chosen for restroom’s intervention at Pasaje 17 Gallery in November 2008 and chosen to participate in the National Textile Art Award at Palais de Glace in December 2008.
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.
“Orange and Red” [Naranja y Rojo] is a 34 x 34 cm collage work from 2007, realized in mixed media with colored illustration paper. They are paper strips rolled up and glued on a wooden frame painted red, this is one of my first works in which the optical result was a trigger for further research on this topic. The material used is directly related to my job because they are layers of CDs (in this case I remember very well that it was a product that didn’t sell as expected and there was a surplus of material left).
2. In general terms, how would you suggest to approach your work?
Just look and let yourself be hypnotized. They are lines that expand, intertwine in different angles achieving an optic and chromatic effect. Reflections and gestures intervening the space, time and color with light, in its physical real and symbolic dimension; connecting us to an elemental and original instant of perception, recording sequences that modify the spectator’s vision as the work is been perceived.
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 identify myself more with the artists that research and experiment.
My referents and the ones I admire are many but here I will name the most important ones:
Marcel Duchamp, Gyula Kosice, Fluxus, León Ferrari, Julio le Parc, Jean Arp, Lygia Clark, Eva Hesse, Richard Deacon, Andy Goldsworthy, Tony Cragg, Jesús Soto, Félix González- Torres, Ernesto Neto, Francesco Clemente, Rebecca Horn, Juan Doffo, Alejandro Thornton, Gabriel Orozco, Jorge Macchi, Liliana Porter, Pablo Suárez, Edgardo Madanes, Roberto Padilla, Claudio Roncoli, Sol Lewitt, Oscar Bony, Sophie Calle, Miguel Rothschild, Provisorio Permanente, Oligatega Numeric.
4. Choose works or exhibitions from the last ten or fifteen years which in your opinion were very significant and explain why
León Ferrari’s exhibition at Recoleta Cultural Center (2004) was one of the most important shows both for quality and quantity of exhibited work and for the social impact it generated.
Le Parc in MNBA – National Museum of Fine Arts of Buenos Aires (2001) where one could interact with most of his artwork.
Pablo Suárez in Maman Gallery (2004), I was able to have a talk with him then, I’m not going to forget it.
I find Jorge Macchi’s oeuvre very intelligent and poetic.
5. What tendencies or groupings from common elements do you see in argentine art of the last ten or fifteen years?
I have no idea, I guess that this will be answer by those who write about contemporary Argentinian art today.
But what I would like is there to be a commitment in the making and in the not making, and that more art collectives are generated, groups with projects open to interact and experiment with the spectator.