I was born in the city of Posadas, Misiones State, 1977. I draw since very little, so in elementary school I was a kind of official illustrator for patriotic acts. I could say that San Martins on white horses and solemn Sarmientos (which abounded at school) in drowning laurels were my first models.
Then I met other less live models when I studied at the Faculty of Arts, University of Misiones. With some friends we make up a group of management, we organized workshops and exhibitions. It was an unbearable experience, but also incredible.
From 2003 until today, I have participated in many group exhibitions; I made an individual showing (for which I apologize...) in 2000, it was called "five against one." Out of the collective ones the most important were the cycles of the "Interfaces Programme” and the latest edition (2006) of "open studio".
Today, 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.
When thinking about my latest work, which is in process, the figure of "rubbish" comes to me, my little imaginary dump; somehow that’s what it’s about: waste, scrap, incomplete things, references to previous works, etc. arranged on a desk. There is also a will to capture something in motion ...perhaps several things at once, a flow of things: casual quotes, visual references, fixed ideas, associations, small movements of color, physical perceptions and the almost infinite number of shades of meanings that clumsiness and accidents create. I am always attentive to what happens with the body of the images. As in previous works, the support is a table (a sheet of MDF 60 x 120cm. and 2 trestles), there are a lot of things on it, most of them are made in plasticine. These things are reproductions of hand tools (pencils, painting knobs etc.), personal objects (headphones, MP4, a pair of old shoes) and fragments of images - and shapes - unrelated and misshapen. There are also real objects mixed with their reproductions, it’s part of a game of some degrees of representations. I am interested on the arena that is being built there, the table as an operating table where I held my little battles for and against the images.
2. In general terms, how would you suggest to approach your work?
I would prefer not to mention.
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 may speak, a little disorganized and fragmented, about certain features that interest me about some works of some artists. • The emotional logic of the cardboard machines of David Miller, and the machines as well. • The strange and body like subtleness I feel in the paintings of Daniel Garcia. • The internal operations -almost imperceptible-performed by Fabián Burgos on appropriated works. The thickness-density of the slow and precise gestures of his painting. • A work of Fabian Marcaccio "Ezeiza-Paintant" presented in November 2005 on the MALBA terrace. Chaotic games of representation in different layers and simultaneously. • The Enigma of Daniel Joglar’s tables: true fields of invisible transactions. • The burst -immoderation- of some of the works of Adrián Villar Rojas and Leopoldo Estol. I am interested in these works, they follow the logical of “the flow” and mobilize a simultaneous multiplicity of objects and meanings, almost impossible to cover -and it also doesn’t matter-.
4. Choose works or exhibitions from the last ten or fifteen years which in your opinion were very significant and explain why
I would prefer not to mention.