Biography
Born in 1974, Quilmes. Buenos Aires. He moved to Mar del Plata, where he studied Visual Arts and Advertising and later on joint the analysis workshops held by the Antorchas Foundation (1999 to 2002). In 2002 he is awarded with a scholarship for visual arts from the "National Endowment for the Arts" and from 2003 to 2005 the Stimulus scholarship for visual arts of the Antorchas Foundation. He afterwards gains the PLOT Scholarship Program of cooperation and confrontation between artists and the KUITCA Scholarship Programme 2003/2005.
Among several exhibitions some can be highlighted: "Distance" group exhibition at Galleria Alberto Sendrós (Buenos Aires, 2003). "Transversal", Solo exhibition and "Traveling" curated by Jorge Macchi at Galleria Alberto Sendros. Buenos Aires (2005) and "Drive-in Cinema” at Macro. Rosario (2005).
He has also participated in numerous group exhibitions: "Space Ship" Auditorium (Mar del Plata, 1999), "22 meters" Auditorium (Mar del Plata, 2000), "Confond" (Fondo de Arte Contemporáneo de Mar del Plata 2001), " 2, 3, and 4 Mar del Plata, Bahia and Tandil "Tandil Municipal Library (2001)," Salón Nacional de Rosario "(Museo Castagnino, 2002)," Curriculum 0 "(Galería Ruth Benzacar 2002) "Artificial Nature". La Casona de los Olivera (2002), "The Drawing Club" Auditorium (Mar del Plata 2002), and the "National Biennial of Bahia Blanca, where he obtained a special mention of the jury (MAC 2003) . He joint the exhibition "Villa Elizabeth". Berlin, 2004. "Transversal" Baro Cruz Gallery. San Pablo. (2004) . "Panoramix” at PROA. "Lienur, Pierri Duville Pena” Alliance Française, curated by Ruth Benzacar gallery.
He works on different materials, creating a degree of tension between representation and the procedure is performed on the substrate. This condensation between material, story and action leads the image to an experimental level where the initial story is altered.
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.
“Drive-in Cinema”. It consists of a series of large drawings on the walls of the third floor of the MACRO Museum of Rosario (2005). The installation is ephemeral and the drawings are done in charcoal. The audio sample is processed through an amplifier (broken) through which a set of punk themes are played, connecting with the violent yet intimate drawings. The old distortion amplifier cancels any attempt to decipher which band or singer is playing. A helicopter on a sea of frozen waves, a house that devours pine trees, a shark that spews mountains of snow and a mobile home floating down the rapids of a river rock, are some of the representations sampled in the exhibition. The music and the drawings are creating a place that I think goes beyond what we are seeing. There is no specific sense, nor a clear direction; I only take from cinema a sense of secrecy between us and what we're seeing.
2. In general terms, how would you suggest to approach your work?
The images I produce are mostly representations, where exists a bombing figuration. The abstraction comes to impose a new order. The landscapes I create get mixed with the nature of the material. The representation collides against the brutality of the procedure, which in its degradation is becomes a part of the representation. The works I had carried out some years ago were representations on different materials such as carpets, wood, silk, polyethylene and so on. There I found a certain power that was encapsulated within the material, an atmosphere that would generate images. By the destruction and falsification of the support I did several series where the material was mixed in the account of the representations. Although recent works are drawings on paper, I looked for the degradation of the material in my own hands by using a waxy crayon that is worn on the sheet. The action of degradation that occurs on the wax paper abruptly influenced the sordid and violent nature of these representations. I want to think that the micro world of friction on the sheet material may be mixed and give rise to the story of the drawing itself. I think this kind of geography, which is unfolded in the solution of the crayon, passes onto the paper with a total burden of violence and squalor.
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?
Raymond Pettibond , Caspar David Friedrich , Goya, Turner. Julian Opie, Paul Mc Carthy, Mike Kelley, Roman Signer, Sigmar Polke, Edward Ruscha. In Argentina I am interested on some of the phases of the next artists: Jorge Macchi, Sebastián Gordín, Guillermo Kuitca and Nacho Iasparra.
