I was born in Córdoba, but I live and work in Buenos Aires, Argentina.
The interplay of spaces is infinite.
From my first exhibition, I made decisions regarding forms, economy of means, the definition of simple yet powerful structures, speculating on the viewer's perspective, and applying my concepts of dynamic spaces between forms to the compositions.
I've explored political, religious, passionate, and ironic approaches; they are all excuses to keep drawing.
The pencil, that mineral, the rough diamond, is the voice of my symbolism. I've painted with pencil, created installations in different spaces, and interventions on various surfaces. I use it to map out large spaces or carve delicate forms; it underpins my formulations of representational concepts.
When I take photographs of objects and urban landscapes, I subject them to what I want to express, enclosing the meaning with geometric forms that help decipher the enigmas of my work, transforming them into drawings. By isolating objects from their surroundings, they become symbols of themselves, and when I apply graphite in a flat manner, a distortion occurs; a part of the object undergoes a change in relation to its other parts.
In natural landscapes, the scientific method is more relevant. The meticulous observation for the subsequent placement of the graphite layer means exploring, immersing oneself, associating, and technically analyzing how and what will happen after taking the photograph.
A distortion always contains a comparison between what is and what should be. It is because of these distortions that the controversies in my images arise.
