I was born in La Plata city on the 27th of September, on a rainy day. I don’t know why I wanted to be a painter when I was a little boy. What I do know is that, after many years, I managed to be something of the sort. For this, the first thing that my parents did was to teach me how to draw on a board and on steamed glasses; of course, walls were out of the question. Later, they made me take private lessons, so I could learn drawing and painting. But when I reached the age of deciding by myself, I took a workshop with Miguel Alzugaray. With him, I learned a number of things related to technique and trade, and after a few years he told me that it was time for me to leave. I never knew if he considered that I already had learned enough or it was because I rarely paid him the monthly fee. At that time, I was already working at the stage design department at the Argentinian Theatre in La Plata, so I was able to pay the fee of a seminar, but not of a psychologist. Therefore I decided to attend the classes of Eduardo Medici, who tought me how to approach the work by developing an idea. Besides, before being an artist he used to be a psychologist.
I have participated in some individual and collective exhibits and won some awards. I won’t be dwelling on that because those are things that nobody reads.
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.
The work I choose is “Where we are going”. In this work I started to develop the forms and ways of painting that I was looking for, like the tonality of the palette and the painting technique. I use the fusion of the outlines and the atmosphere as a guide and reference for approaching other works, even when they don’t appear quite in the same way in the rest of them. I don’t know if this image represents me more than the others, but in my work it is significant as a turning point. Whenever I want to change some aspect of one of my works, or when I already changed something and I don’t like the result, somehow I end up coming back to this particular work. Its production process and its topic are the same one I use with all the others: a photographic record of an urban place or situation, that I translate to the canvas by copying it from the original but conforming a restricted palette and creating a non photographic out of focus. Generally, I mark a cut in the pictures, a straight line cutting the image horizontally or vertically, but this particular work doesn’t have one. In this case, I thought that it didn’t need it, that it was already complete without it.
2. In general terms, how would you suggest to approach your work?
My work can be interpreted as stopping over an everyday situation, a daily environment, which, even when it’s always present, we don’t have the time to stop and reflect about, the place where we live or what happen to us inside of it.
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 don’t know if I can define myself as a member of a tradition. I prefer to recognize me in a contemporary painting. Regarding my referents, I could name artists that have a work close to mine like Paulo Queiroz and Trini in painting, or Klaus Mitteldorf, a photographer that has some works that stimulated mine, among so many other artists from other styles and tendencies that I found inspiring for my work and my development as a painter.
4. Choose works or exhibitions from the last ten or fifteen years which in your opinion were very significant and explain why
I think that the most significant exhibits existing are those retrospectives of De La Vega, Pablo Suárez and Liliana Maresca, Edgardo Vigo, Berni and some other that I don’t remember, because of what these artists represented at their time and what they represent now. I also remember Leon Ferrari’s exhibition at the Recoleta Cultural Center for what it moved and its impact outside the realm of art.
5. What tendencies or groupings from common elements do you see in argentine art of the last ten or fifteen years?
I think that there are many personal tendencies that can be gathered according to common elements, such as a similar style in the way in which the work is developed, both in the conceptual and in the references made to particular styles.