Biography
I was born in Quilmes in 1981. I studied graphic design while I attended to art workshops and art clinics.
Some of them were given by Vicente Grondona, Julián Gatto, Marina de Caro, Nicolás Sarmiento and Lucrecia Lionti.
My work is expanding to new means.
Otherwise, drawing is my primary language.
my work is ruled by the idea of spaces.
The space that we take up in relationships, the space that takes up our thoguhts.
the space taht takes up a converation with someone.
the way we move through that channels
the way we draw routes and the way the body is envolved in that process.
I take part of a performer dance group, any of as is a dancer, we tested to dance with aour eyes colsed, the body talks.
I make pottery, my hand traces untidy lines, scratching it.
I melt metals, the fire transforms the surface like an eroded land.
Everything begins being movement and gesture.
Individual exhibiton:
"los truenos no lastiman" curator: Juan Killian.
installation based on tweets I posted during 2011
nited states, spain and Switzerland
Some exhibitions in wich I took part:
Feria junta_ Big sur, 2012
El equilibrio- Cobra 2012
"End vehicles, sketches for later works" FERRO STROUSE GALLERY; New York
Nocturnos_Cobra Galería, 2011
Expotrastienas_Nora Fish, 2011
Poética móvil _ Big Sur, 2011
M.I.A art fair, Miami , Jardin Luminoso Gallery 2010
Montañas, piedras o pinos_ intervention to the microspace made with Lola Goldstein, Pablo Cabrera, Mercedes Villalba y Julián Gatto._CCEBA 2008
Río y Médanos_FUNCEB, 2008
colgada en Belleza y Felicidad, 2006
some of my work takes part in private collections in Argentina, the United States, Spain and Switzerland
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 choose the “rabbits” series. I draw the main design based on a photo of a Japanese photographer named Yoko Minemura. I printed different frames of the picture and worked on it. The smaller pieces were arranged around the largest ones and everything remained as a unit. As people would be taking them away I reordered the whole and the final form continued constantly changing. I found it interesting that it could continue operating while it was falling into pieces at the same time; also that everyone had a small part at the end, allowing the people to have fun selecting the pieces they wanted to take and from such participation to let the work be modified.
2. In general terms, how would you suggest to approach your work?
"... And pass the one-foot bird. Slides elegantly around. I saw him. I didn’t see him. I know it is. Does not exist. There is one, one hundred. What is it going to be? Doesn’t matter!..." (Giorgio di Maros). With curiosity and enjoyment.
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 am very interested in De la Vega by the strength of his monsters, colors, compositions, and the freedom of his creations. Gego and Soto by the study of the line, their dedication and by the investigation that each one of them headed. Klimt for his compositions and colors. Hokusai by his genius, tenacity and meticulous observation. Those are my admired ones. At present there are many artists that I'm interested in but I do not have a clear point of reference, I unwittingly get nourished by what I see and I do think it is good that those references will actually fluctuate.
4. Choose works or exhibitions from the last ten or fifteen years which in your opinion were very significant and explain why
I found Mondongo work very shocking, the study of the technique and their precise projection through their achievement of such a unified teamwork. Also Pablo Siquier’s works which reflect a very specific dialogue with the current dynamics and with the diversity of the immediate and the virtual. Everything is more ephemeral and gives way to something else. Everything is connected and interacting. But at the same time, there are works that from a more intimate dialogue, simpleness and subtleness reach an overwhelming content; such is the case of the work of Liliana Porter.
