Lives in Munich
How do you describe your own art practice?
I create objects that serve as components of fictitious collections. Through their union, repetition, and superposition, I build installations that invite the public into the parallel/private universe where these collections take place. I work with different media such as flat paper sculptures, ceramics, printmaking, or painting, usually starting with simple techniques that I can decipher and then transforming and adapting them according to my needs.
Which question or theme is central in your work?
Collections and the act of collecting are at the heart of my work. My fascination with gathering, reproducing and transforming objects from collections with different origins, leads me to think about the use of the concept of collecting in artistic processes. What is behind artists’ interest in creating collections? How does collecting affect the artistic process? How does the artistic process change the collected pieces? Are these changes comparable to those experienced by objects in a public or private collection? The act of collecting provokes a variety of processes on its components that alter their reception and interpretation by the observer. I explore the ambivalence within these processes which contributes to the complexity of collecting.
What was your first experience with art?
As a child, I always liked drawing, so my parents took me to a small painting academy in our neighborhood in Buenos Aires. Pedro Gaeta ran this space and besides being my first painting teacher, he was the first artist I met. He showed me techniques that I still use today, but above all, a way of living in which artistic creation and life merge into one and the same thing.
What is your greatest source of inspiration?
My path has been marked from the beginning by the fact of being in constant movement. Every change of scene, be it through studies, residencies, or projects in different countries, has influenced and transformed my work. This permeability has become indispensable for my artistic practice, as the search for non-verbal cultural connections is the basis of my work. I try to provoke situations where discoveries can be made. Every new collection I come across has the potential to open new doors in my work. At the same time, the insistent revisiting of one specific motif helps me to delve deeper into it, setting aside the preconceived urge for originality. I also often change techniques when I feel that the possibilities of my work no longer motivate me, I find the lack of control when starting an unfamiliar or forgotten technique very liberating and productive.
What do you need in order to create your work?
To begin with, a lot of floors and surfaces can get dirty. The first steps of my work are very physical, I create the material I work with from scratch and then shape it, so I have to try to be efficient in the use of my energy rather than in the order and cleanliness of the workspace. In the second phase I work on the wall, it is a slower and more observational work. Other elements would be cellulose, pigments, oil colours, time, and also some company.
What work or artist has most recently surprised you?
If I choose one, it never seems to me to be the right one, because from each artist or work I gather different kinds of experiences. The collections presented at the exhibition Sardinia – Island of Megaliths at the Neues Museum in Berlin played a fundamental role in the series I have made this year. Phyllida Barlow’s show Frontier at Haus der Kunst was enchanting to me. Gabriel Chaile’s sculpture-furnaces in Venice and the subjects and work of artist Gala Porras-Kim, were surprising in their familiarity and Marlene Dumas’ Open-End exhibition made me want to paint again.