Biography
I was born in Olavarria, Buenos Aires State in1962. I studied advertising photography at the School of Fine Arts of Azul city and later cinema in Buenos Aires, I also studied with Diana Aisemberg.
In my childhood I enjoyed playing with images, nowadays I recall it like a dream, which I built little by little. From electromechanical technician to photographer. My love for cinema occasionally took me to a drawing workshop and then to the academy of fine arts, which I soon abandoned. Later, with my ideals always placed on Cinema, I studied with advertising photographers, also film production and cinema technologies, always spinning on the same lap, while surviving as a photographer. Until I photographed works of my artists friends and of Quinquela Martín.
Diana Aisember Appears, the Rojas Cultural Centre and her workshops, her reflections, the reflections; my therapists, and with her, my exhibitions, group and individual ones.
I coordinated with artists such as Daniel Fitte and Silvio Oliva Drys, the open meetings of photography, collective work, photo installation of a communitarian intervention at Sierras Bayas.
I took part of the management and direction of Virgin and Saints, a multidisciplinary project that brought up musicians, film makers, choreographers, visual artists, actors and architects of the region.
I advocated myself to teaching between 1998 and 2006 at the Provincial School of Fine Arts of Olavarría, the local photo club, and at my own workshop.
Since 1987 I work as a photographer. I have participated continuously in individual and group exhibitions since 2001.
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.
This work, "spicegirls" marks a –recent- point of inflection in my production, I do believe that my weakness towards it, denotes a legitimate and successful meeting.
The picture is presented as a mean of recording - capturing images, that through digital overlapping, constructing a new discourse-. I take fragmented pieces for the assembly of a "digital collage" with the intention to subvert the temporal analog space of the shot. Approaching thus the idea of an insidious thought, like layers and transparencies. The media (paper) and its role in the printing process give the photographic character of the work, masked by its composition and color on an elongated and rectangular format.
2. In general terms, how would you suggest to approach your work?
I would suggest to read it like when we retrieve in memory a forgotten film. All at the same time, in simultaneity, like a pile of images that we are rushing into the mind before a single word, phrase or exclamation. That's how I conceive it, and probably not the only way possible.
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 recognize myself within in a very fuzzy line of contemporary art that is between photography and visual art. That is a plastic picture. My contemporary references: Victor Burgin, Jeff Wall, Richard Long, Douglas Gordon, Gabriel Orozco. Artists that have always interest me are Marcel Duchamp and Christian Boltanski.
4. Choose works or exhibitions from the last ten or fifteen years which in your opinion were very significant and explain why
Difficult task. I rediscover the works when I have an active posture in front of them, when I abandoned the passive role of spectator and participate actively in the work. They turn my memory and overall my affections, that is why I will mention the works of two people who particularly mean a lot to me: The Dictionary of Diana Aisemberg and the installation of Daniel Fitte, with his work, “the gloves of the workers”.
