Biography
I began to take pictures when I was in High School because several partners of mine used to do it and I wanted to do it too. I bought a Minolta in a bank that sold things by auction. I took pictures with that camera for many years. The most radical change that I made was the step into the digital world, that allowed me to explore the digital retouch, to deepen in the work on the image in a much freer way. I try to stay open-minded towards new possibilities. I can spend hours retouching the same image: you can always undo and that is quite permissive. Every time I sit down in front of the computer I want that work to be related to searching and to playing, to intentionality and to risk. I want to leave a part of the image that cannot be translated into words, a portion on which anything can be said, and that portion is generally the one that arises naturally, the one that emerges in a spontaneous way in the process of making.
Besides photography I also enjoy doing various experiments. One of the most successful was the work with slides. I worked as a detective using different things and seeing how things were in the projector; under the guise of art you can play a lot. At the end fortunately I realize that these images represent me and at the same time help me to see myself in a different way. They embody the joy of making the incredible pleasure that is to sit down to compose, and that's what I want to share. I managed to transform many different energies in images. I appreciate that in my work: I have no professional camera, never studied photography, but I have the impulse and I learned to let it go.
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’d choose the picture "Flower" because it is the first one of a huge series. Actually it is an issue I've worked for a long time and I have reached new places that have surprised me. I've reached the point where I realize that there are certain topics, certain motifs, techniques and image forms of which I could not get tired, and that is very positive because I realize that I find ways to be at ease and at the same time give me encourage to keep looking. One of those things that I feel very comfortable with is to make important approaches and deface through digital retouching. The material issue is very sensitive in photography, especially in new media. I have many photos that never touched the paper, many of them never will, so that its materiality is somewhat elusive as work; their measures may change according to the impression or the paper on which they are printed.
2. In general terms, how would you suggest to approach your work?
It is difficult to determine a way to follow. Perhaps a little naively, I would say that the picture speaks for itself. I would like that those who see them do what they want with them, that they appropriate them in an interpretive sense, because the images are nothing without someone to give them sense (and I know this is hugely obvious).
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?
As a student of History of Art I like many artists. I believe that each period has geniuses who are conditioned by their environment but can be free to make revolution and renewal. I think I am a product of my time, because the openness that exists now allows a variety of techniques and themes that open the field to new dynamics. I have many contemporary referents; I think that any artist can say that they have never "stolen" an idea, when you go to a show and you see something you like, you take elements and put them in your work; one should get influenced. Since I work in Juana de Arco Gallery, to which I owe much of my artistic development, I had the pleasure to meet great artists and creative and talented people of whom I nurture every day as long as I live in their works’ company. The art world by now has shown me all its generous faces because this people allowed me to meet new people and have found that personal networks are in many cases the factor that holds the works, the production and the emotion that represents to an artist to exhibit their work.
4. Choose works or exhibitions from the last ten or fifteen years which in your opinion were very significant and explain why
I saw many things I liked in recent years and many others that I found deceitful or poor. I think that's very positive because the bad things help us to highlight what is really good (another huge cliché). I would like to highlight many local artists. I believe that the presence of Belleza y Felicidad Gallery in Buenos Aires was very significant because it enabled the offspring of new artists that came together with a new way to understand what an art gallery is or should be. I have a huge respect and admiration for Fernanda Laguna. Also, due to the nearness, I admire the artists whom I'm working with: Dani Vega, Viky Vitar, Rodrigo Vázquez, Carmen Rocher, Gaba, Laura Pérez Campana, Patricio Larrambebere, Elena Losone, Gabriel Baggio, Noelia Yagmourian, Julián Terán, Cynthia Kampelmacher, Constanza Martínez, Natalia Cristófano Fernando Goin, etc. The artists of Juana de Arco Gallery gave me a very productive chance, a new dimension to approach the process of making things.
