Biography
I was born in Buenos Aires, in 1980, where I live and work at the moment.
I studied in the National School of Fine Arts “Prilidiano Pueyrredón”, majoring in sculpture. At the end of 2004 I assisted to the art workshop of Pablo Siquier and in 2005 I assisted to the art workshop of Ernesto Ballesteros and I received the scholarship Visual Art Workshop of the Rojas Cultural Center / Buenos Aires University. Since 2006 I assist to the art workshop of Diana Aisenberg.
Some individual exhibitions:
2006 / Rosa Chancho, "Triple instancia" / New Gallery Rojas Cultural Center, "Dos visiones de paisaje adentro de una sala blanca" (Two visions of landscape incide a white hall) Maculan – Yagmourian, curator Eva Grinstein
2005 / Contemporary Art Center La Casona de los Olivera / Juana de Arco Art Gallery, "Festividad Calculada" (Calculated Festivity)
Collective exhibitions:
2008 / arteBA Juana de Arco
2007 / Boquitas Pintadas, "Shangrilala en primavera" / Recoleta Cultural Center, "La Casona de los Olivera en el Recoleta", curator Marcelo De La Fuente / arteBA barrio joven, Juana de Arco, "Vivir con arte" (Live with Art) / Juana de Arco, "Hoy, mi obra preferida" (Today, my favourite artwork).
2006 / Estudio Abierto Centro, Palacio de Correos, "Dominó imperial Espacio y destiempo" (Imperial Domino Space and Out of time), curator Rafael Cippolin / arteBA barrio joven, Juana de Arco, "Residuos inmediatos" (Immediate waste)
2005 / Nacional Fund of Arts "Bárbaros" (Barbarian), curator Rafael Cippolini / Contemporary Art Project Award, 4th Edition / Juana de Arco, Trastienda.
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.
“Triple instancia” emerges from an invitation of Rosa Chancho. I worked over the artwork of Luciana Lamothe (previous artist within the project’s format). The artwork is closely linked with the gallery in space and time aspects. The external materials to the architectural elements of the space that make up the artwork are red. Mosquera tape, contact (transparent vinyl), adhesive tape, rubber. The contact and the adhesive tape stick to the façade (front), window and wall. A rubber floor covers an area of the sidewalk from the wall towards the street. Adjoining mosqueras tapes are joined in the upper side of the blind and, in the lower side, they are submerged in the sidewalk.
Instance 1: the blind is shut, the tapes are scattered over the sidewalk, the triangle starts weak and deflated.
Instance 2: the gallery opens up, the blind is lifted and the diagonal becomes tense, the tapes extend and a red triangle is formed. The passer-by spectator can walk underneath (inside) or outside the triangle.
Instance 3: the gallery closes down, the blind is shut, the triangle goes down, the tapes are protected. A red rectangular over the sidewalk gives the indication that the cycle will be repeated the next day.
2. In general terms, how would you suggest to approach your work?
I suggest to be patient. To look around, stop, look for different points of view. Then I would like the spectator to look behind and then look forward. That he wants to get to know the rest of my artworks. If there is nothing yet to look ahead, then I recommend he remains patient. At some point he’ll surely be able to connect with the whole artwork.
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 consider them my friends, part of my family; they are the ones who are by my side. The relationship is informal. In certain occasions we move apart and we don’t see each other for a while but in general we meet again, we reencounter. I wish that many more would join this list: Jessica Stockholder, Ernesto Neto, Jim Lambie, Lygia Clark, Monika Grzymala, Sarah Morris, Lisa Sigal, Olafur Eliasson, Fres Sandback, Donald Judd, Franz Ackerman, Julie Mehretu, Beatriz Millhazes, Charles Mackintosh, Thomas Struth, Frank Nitsche, Rauschenberg, Tony Cragg, Christo and Jean Claude and Julieta Ortiz de Latierro, who is really close because we share the studio.
