Born in Chivilcoy, Argentina, April 10th 1978.
Currently my aesthetic pursuit draws heavily from the research on functionalism and the fusion of the artistic and the decorative into a total art that the Bauhaus so radically raised to our contemporaneity.
In this sense, several of my artworks draw compositions that refer to certain formal aspects of modern architecture and design in combination and contrast with various forms and materialities. In the form of sculptural installations or ensembles, some of them may suggest an accessory utility, a spare architecture, and, combined with their arrangement in a given space, may evoke or simulate interiors, environments, or potentially habitable spaces.
I have been exploring specific perceptual contrasts: soft vs. hard, straight vs. curved, opaque vs. transparent, to name a few. In this way, I am projecting a series of works with structural parts and pure geometric forms, rigid bodies in dialogue with soft, flexible materials, exploring the peculiarities and qualities of each material.
Linking the material substance of a rock, a tree trunk, an amorphous organic mass with industrialized objects such as metal and glass, as well as its transformation according to behaviors and attitudes, like pressure, tension / suspension between them.
These would be shaped with basic geometric elements, linear and planar metal, glass and wood structural forms, as well as soft materials such as fabric, clay, cables / ropes most pristine bodies like logs, rocks, etc.
My area of research is the abstraction, particularly from the geometry, its importance in my work is radical. I understand abstraction as a “power”, a driving engine infinitely free. It is a research field large enough to provoke plurality of particular questions to who is immersed in it. I think immersion, and if I should represent this subject in some way, would be through the “sea”. I like to think this analogy, geometric abstraction: sea. In this way, geometry arise me as a fluid substance, where abstraction is the aesthetic observation mode that best sails it.
Geometry as a network to capture reality as well as a net is used to catch some fish in the sea, geometry is that with its elements and, in all that space, gives us the necessary tools for the creative flow.
While developing my artwork, I’ve had the necessity to incorporate concrete physical and “objectual” elements to establish a dialogue with walls, and floors, and angles of certain spaces, following an architectural idea, coupled and articulated with the exhibition space.
I am interested in going out to meet the space, establishing spatial and formal relationships with the shadows and their materiality, making surfaces and physical frontiers of the space more subjective, making it formally, visually and perceptually infinite.
In some cases, I work with a series of “object pieces” made up by basic geometric elements: volumes, planes and lines, elaborated with simple materials, in order to continue with the idea of space as a main character.
Some of this works are built in modules, in a way as to adapt to different exhibition spaces, and allow me to combine them differently according to the space where they will be deployed.
The aim is thus to guide the look to other sectors of space. The corners and angles are there to be tapped, I am particularly interested that certain works can fit, or demarcate those forgotten, virgin points of the exhibition space. Again, in analogy with the “sea”, the space offers generously in all its vastness, endless possibilities to explore, illusory, virtual, accessory connections… You can lose yourself, dive, surface, sink, and finally float.
That series I have been working on account for my last research into the unlimited possibilities offered by the space as support for the artwork, and as building tool.