My works as a whole present a continuous project of implementation, where
each situation casts its projection over the next to come, even though
there are differences in the methodology and in the means and materials
used in each case. In fact, the very nature of these works draws a series
of movements that turn out clearly legible when seen as a whole; the images
show that different genres have been tackled for their construction: performance,
sculpture, photography. Still, the work itself does not respond to only
just one of them. Rather, they act as supports on which sliding movements
My latest works have tended to use space as a stage, projecting some sort
of acting presence of the objects, as if they filtered through the chinks
of the landscape. Thus I seek to compose a kind of cinematographic time
and space, insofar as what has been staged delves into the spectator's
gaze. It is then, a two-fold movement: what the spectator sees opposite
him, and what he sees about himself in the staged situation.
In the above mentioned continuum of my work there are three stages:
1) The construction of portable objects, with the corresponding sense
built up by the identification of each object, depending on each case.
2) The transformation of both objects and surroundings. If geometry is
a construction of the mind, a fallible geometric rendering of the world,
of reality, then...the landscape is permanent. This is the central line
of this series where one is a spectator oneself and where the fictiuon
generated by the object intrinsically contains the fragile perceptual
edifice, the magnificent projector of reality...The photograph reconstructs
an image that has shaped itself up. An image that has shaped itself up...
is something that I cannot explain more clearly. Maybe I’m thinking
of the way in which the moment is recreated in the spectator's mind, the
sensations the object suggests, the delectable experience...
3) Towards a dramaturgy of objects... To work as a scenographer and costume
designer for plays, where the scene is conceived as an acting part, drove
me to think of what I would call a "dramaturgy of objects."
This is how I make a sculpture. The work sets out to look for its surroundings,
to choose different landscapes. Then, a minimal "dramaturgic device"
becomes veiled on the way, the sculpture is no longer seen from a traditional
valuation and helps generate the idea of an "itinerant character."
Born in Tucumán, Argentina, in 1968.
"Faro de Oriente", Mexico, D.F. Collective exhibition
2003; Provincial Museum of Fine Arts, Tucumán 2003; Contemporary
Art Fair ARTEBA 2003, Mar del Plata MOPT Gallery; Provincial Museum
of Fine Arts, Salta 2002; "Colectivos y Asociados", "El
Ingenio" Group at Casa de América, Madrid 2002; "Paisajes
privados, prisiones colectivas", Ruth Benzacar Gallery 2002,
Buenos Aires; "Aportes de la crítica para un nuevo coleccionismo",
Praxis Gallery, Buenos Aires 2001; "Souvenirs of Tucumán",
Los Angeles Museum of Latin-American Art, L.A., the U.S.
Scenographer for three plays; two of his works in this field were
nominated for best scenography; the third won First Contemporary Dance
Fundación Antorchas awarded him a scholarship for "Encuentros
de producción y análisis de obras" 1998 and 2001
with artists Claudia Fontes, Jorge Gumier Maier, Pablo Siquier and
Graciela Sacco, respectively.