Biography
Born in Veronica (Prov. of Bs. As.) in 1971, professor of Plastic Arts and graduate of the Universidad Nacional de La Plata, specialized in drawing as well as in Engraving and printing. Studied photography in the Centro de Fotografía Contemporánea and in the workshops of Juan Travnik between 1994 and 2000. Main solo shows include: la suerte echada (the thrown luck,) Gallery 713, 2008; el blanco más doctrinario (the most doctrinary white,) British Arts Center, 2006; Grabados acerca de el fiord, (Engravings about the fiord,) Museo de Bellas Artes Bonaerense, 2002; apariencia, (appearance,) French Alliance, 2002;a campo traviesa, (to the mischievious country.) Fotogalería del Teatro San Martín, 2001. Curated various shows such as experiencia sensible (sensitive experience) 2007, ahora el pasado (now the past) 2005, espacio (space) 2003 among others. Has likewise published investigative texts about photography or on the presentation of photographers. Lives and works in the country.
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 have always worked in series or essays, therefore I think of articulated works, not in separated compartments. There is a constant which is the relationship with some theoretical concept from which the images come. I could describe a passage from a series called la suerte echada (the thrown luck) in which the idea of the unique trace works in conjunction with the series. It is composed of a series of rural workers hands in woodcuts next to a series of drawings (portraits) that I asked these same workers to make. The process of production has been that of joint work. The outward appearance of the hard lines of the woodcut is juxtaposed with the freshness of the drawing.
2. In general terms, how would you suggest to approach your work?
There does not exist an index of ideal readings. Personally, I'm attracted to the idea of a greater openness in the approach to the works. Which reaches. Paraphrasing Osvaldo Lamborghini, I would say that even from the inside of the cabbage one sees the same light: ALWAYS.
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?
There does not exist an index of ideal readings. Personally, I'm attracted to the idea of a greater openness in the approach to the works. Which reaches. Paraphrasing Osvaldo Lamborghini, I would say that even from the inside of the cabbage one sees the same light: ALWAYS.
4. Choose works or exhibitions from the last ten or fifteen years which in your opinion were very significant and explain why
I think of a couple of shows that have been significant for me, one of a countryman and another of a countryman in a sense- a Bolivian. The first is Gerardo Repetto in the Alianza Francesa: Disección de lilium (Dissection of lilium) in which he puts to test the place of representation, denying us the image and changing the interpretation of the same in the legal terms of a notary. The second in the Borges of Fernando Castro: La ideología del color, (The ideology of color,) in which he proposes the non-existence of the so-called white race. The significant force of both is, to me, to understand the propositions that they put in play, that implicate a social collective and not some subjectivities in a given moment.
