Biography
Born in Buenos Aires,1960. From 1977 to 1992 lives in France, where she studied scenery and painting at l'Ecole Nationale Superieure des Arts Decoratifs. She currently lives and works in Buenos Aires. Her teachers in France were Zao Woo Ki, Rohner, and Viguié. In Buenos Aires she attends Diana Aisenberg’s workshops and practices engraving at Osvaldo Jalil’s studio. In France she took part of the 80’s movements that sought to bring art to the streets, making installations and afichages. She also colborated in the organization of the neighborhood open workshops. In Buenos Aires she has done individual shows at the Cultural Center of Spain in BA, Recoleta Cultural Center, Palais de Glace, Centro Cultural Borges, the Casona de los Olivera and at the Torre Monumental. She participates of and supports collective entrepreneurship such as KDA (kiosk artists), the Club of Drawing and artechacra.com. At this time she works on a collective project of site specific named Live File along with Viviana Macias and Silvina Romano.
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.
Solar plexus is a large-scale work that occupies the center of an area of 4m x 4m x 4m. It was mounted in December 2005 at the Torre de los Ingleses. It is built with a traditional braided strips of negative film, and it was the braided itself that generates the shape of the object. It has a main body conformed of a suspended hollow volume, like a reservoir of organic form, like a pear or a heart. Hollow tubes of it come out like veins or roots that reach the ground. It is a soft play that adapts to the receiving space. It takes its form aided by its own weight and the resistance that the tissue determinates. The negative film is printed, and operates in the work as an information-laden material. As the reference field of the play is about the organic, I think of this succession of images of the material like a DNA fiber. Solar plexus is inserted into another series of works inspired by the human and animal organ systems. A plexus is a conjunction of nerve endings that cluster forming a kind of knot. In the solar plexus are combined fibers from the sympathetic and parasympathetic. I am interested on working on organic systems as metaphors for energy structures and the soul.
2. In general terms, how would you suggest to approach your work?
In recent works, there are things I consider important, such as how they relate to the area that receives them, the scale in relation to the person who looks at it and the translucency of the material. I would suggest a first meeting of the work with the body of the observer. Then I'd like to insert it into the building process of the work. There is a line of thinking that is common to the different materials used in my work and would like those worlds to meet and recognize each other.
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 in a western European and Argentinean tradition, not so much American (Northern). From the Europeans I’d say I’m influenced especially by the French, a country where I lived for a while. I’m interested in the works (not necessarily considered art) of European travelers in the Americas, as the naturalist drawings or the drawings of the Fueguinos Indians made by Fitz Roy. From Argentina Prilidiano Pueyrredón and Candido Lopez fascinates me. In general I like the painting of the XIX century and the XIX century in general. I like the so called mediumistic drawings of Victor Hugo and along the same line Artaud's drawings. Also the treatment works by Lygia Clark, the patterns of oriental medicine and the medieval cosmological representations. As contemporary references I can quote: Do Ho Suh for the use of space, the translucency and the ethereal structures, Louise Bourgeois for his work, huge and tiny at the same time, and for what it means as a notion of femininity, Christo and Jeanne Claude for how they link productive tenacity to the notion of beauty and David Hockney for his paintings and for sharing his interests on “how to observe”.
4. Choose works or exhibitions from the last ten or fifteen years which in your opinion were very significant and explain why
Reorganization of the MNBA’s XIX century room. Value placed on work until recently considered iconography for history books, which I adore, for instance the watercolors of Pellegrini. The Public opening of the Collection Constantini: it not only allows to watch as often as you like the Xul Solar's watercolors or Berni’s paintings, but inserts them into a Latin American context. The Series of the Open Studio, a sort of fair where contact between artists became easier. Peripheral: It's a bomb in the future, because of the amount of self-managing agencies presented by artists.
5. What tendencies or groupings from common elements do you see in argentine art of the last ten or fifteen years?
That it is easier to work in groups, sharing the same language or in multidisciplinary groups and the concept of artwork more easily accepts these approaches. There is sometimes a kind of assimilation of the performance of musical groups into the visual arts production. That the artists were more concerned with issues of study and / or theoretical after decades of silence and they generally do so in groups. That there are self-organized structures created by the artists themselves which represent an alternative path of action in the field of art to take the lead when it comes to communication and socialization of the artwork. That more and more artworks are read within a set of actions or expression of thoughts. That drawing is revalued as an artwork.
