Biography
Back in 1998 I started studying painting with Sergio Bazán, thanks to a fellowship given to me by the Fundación Antorchas. I studied Arts and Literature in the UBA. Poetry with Arturo Carrera. Individual exhibitions: Galería Cecilia Caballero, 2001; Galería Dabbah-Torrejón, 2004, Kravets Wehby, New York, USA, 2005, Rhys Gallery, Boston, USA, 2007. Antorchas fellowship in 2002. In 2005 I attended the artist residency of the Skowhegan School of Painting and Sculpture, Maine, USA, and in 2006, the Atlantic Center for the Arts, Florida, USA.
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.
Since always, I work using a variety of sources, realities, and the connections between them.
In the beginning, this was expressed in three ways: installation strategies that consisted on hanging many paintings and the way in which they interacted. More than composing, I tried to fragment each painting using its closeness or proximity with the next one.
Second, when dealing with paintings that described the same mimetic scene, I would put hidded elements that questioned the integrity of the represented scene. For example, figures that were not posing.
Third, the scene itself seems to provoke the question: "Why did she decide to paint this?" Captured moments may be seen as trivial or dramatic, and the painting does not let you figure out which one is it.
I've recently made what I call ‘chaotic universes’, but obsessively controlled. I'm interested in collapsing different historical periods. Generally, it's difficult to notice where do the chosen images come from.
Do they come from magazines, movie stills, other paintings? In the same way, I juxtapose different historical moments so as to create confussion regarding the nature of the story. Ironically I create an effect of explosion, using the traditional collage technique and composition. As a matter of fact, I group together pieces on a frame, but the objective, I hope, is a radical explosion of any possible totalness.
2. In general terms, how would you suggest to approach your work?
I would like my paintings to be thought of as a train, a trajectory along which I find things that lead me to the next station.
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'm interested in all the realistic painting tradition, but since I'm no art scholar, my trajectory is almost popular, like someone doing a tour across the works of the genii.
Capussotto, Sergio Bazán's eye, the music by Mary Claire Byztwa, the work by James Hyde.
4. Choose works or exhibitions from the last ten or fifteen years which in your opinion were very significant and explain why
I choose "Fabricantes unidos" (United manufacturers), By Eduardo Navarro, in Once. I loved the irony of the sculpture as a hard, ridiculous, meaningless pudding. Useless, for you couldn't even eat it.
I also choose a video called "Burrita oscura" (Dark little donkey), by Marcelo Galindo and Marisa Rubio. Although the mounting was absolutely surreal, I felt it was a representation of how it felt to be living in Argentina back then, despite the fact that, actually, all shots were taken in Bolivia. That gave me a great deal of pleasure, they have found an image!
