Biography
I was born in Cordoba in 1971. From 1997 to 2002 I worked in the Museo Nacional de Bellas Artes and I started exhibiting a series of drawings and collage paintings. From 2003 to 2005 I attended the workshop on work analysis given by Tulio de Sagastizábal, the last year with a fellowship by the Fondo Nacional de las Artes. Up to now, I’ve done the following individual exhibitions: Jardín Japonés (Japanese garden), at Baltar, Mar del Plata, and “Como en casa” (Like home), Oficina Proyectista (2007), “Miscelánea” (Miscellaneous), Lomo, (2003) and re-edited version, “Miscelánea” at the Alliance Française (Bahía Blanca, 2004), “Papeles” (Papers) at Ant (2001). I’m a member of the group La Mudadora (The moving company) with which we intervene places in the process of moving: “en casa %” (2006) and “La mudadora-Cramer 3535” (2007). Since 1998 I participate in numerous salons and collective exhibitions. I highlight: National skills improvement grant, FNA (2005), 1st acquisition prize “Mujeres 2002” (Women 2002), Banco Ciudad, and 1st Mention – Illutration, Bridgestone art biennial (2000). I live and work in Buenos Aires.
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.
"Selfportrait" was made to participate in an exhibition called "Egotrip", done in Appetite by the end of 2005. It's a digital shot. In it, I'm posing in front of the camera, my palms also in front of it, each of them holding a rosette as if they were spectacles. These rosettes are made out of paper cut-outs that I collect here and there, and that I then laminate, fold and sew, using a fishing line. I spend a lot of time doing these rosettas, it's a recurrent shape within my work and I've work them in different ways -in this case, tridimensionally-. These are the units with which I form my own knitting.
2. In general terms, how would you suggest to approach your work?
From a distance and closely.
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 eagerly look at the works by: Doris Salcedo, Sarah Lucas, Annette Messager, Victor Grippo, Feliciano Centurión, Cildo Meireles, Helio Oiticica, Mira Schendel, Ernesto Neto, Mona Hatoum, Yayoi Kusama, Cosima von Bonin and Basserode, among others.
My contemporary references are those people with whom I exchange dialoges and activities: Margarita Wilson-Rae, Mariano Ferrante, Leila Tschopp, Janinne Wolfsohn, Isa Peña, Ana Gendrot, Celina González Sueyro.
4. Choose works or exhibitions from the last ten or fifteen years which in your opinion were very significant and explain why
I still think as significant: My first approaches with contemporary Brazilian art in "El hilo de la trama" (The thread of the weave"), Sandro Pereira's rubber duck, Grippo's retrospective -all of them in MALBA-. Those works dealing with the issue of micropolitics in "Un dedo en el río" (A finger in the river), CCEBA, Buenos Aires. Those exhibitions exploring the crossings between Argentine and Brazilian artists in the Centro de Estudios Brasileros (FUNCEB), especially that of Leda Catunda and Silvina D'Alessandro. The artists grouped in "Entre el silencio y la violencia" (Between silence and violence), Fundación Telefónica, Buenos Aires. Alessandra Sanguinetti in MAMBA. The lamp post of the CC Rojas just as it is.
