Where do you come from, and where and when were you born?
I was born in 1986, in Montevideo, Uruguay.
Please tell us your artistic vita in a few sentences.
In the last 7 years, I have dedicated myself with progressive intensity to art. I started in mid-2013 studying photography and developing photo documentary projects in Uruguay, both digital and analog; since then, I have participated in the production and edition of photographic books; I have been a juror and an exhibitor in Uruguay and in other countries. In the last three years, I have studied curatorial processes and exhibition organisation at the BBK Berlin, at the University of Burgos, Spain, and finished my artistic residency here in Berlin. I studied at the Escuela Nacional de Bellas Artes and at the Escuela Joaquín Torres García in Uruguay.
How would you define beauty in 140 characters or less?
It is something that moves me, that I can't stop looking at which triggers a process of creation and imagination that I didn't know about.
Was there a pivotal moment when you decided to follow your passion?
Yes, the moment when I realized that I wanted to tell/declare many things, but from a visual language, from painting. Specifically from creation in general and from a particular artwork. That's why I say that purifying the abstract is my mantra. That capacity has been acquired or developed by well-known artists. For me, it is a process in which that purification also has to do with the stripping of oneself, of those things that along the way one loosens and incorporates. The city of Berlin also played a role in many decisions; for those of us who make art, the existence of an artistic and cultural ecosystem that favors multiculturalism is very important; the variety of opportunities and the possibility of always seeing what one wants to see and creating what one wants to create; transiting and inhabiting the margins of what is defined.
Can you tell us about the process of making your work?
Bringing something to life from nothing is the central idea of my work. I define myself as a player of the word and its spatial arrangement, where creation is a neuralgic element to start any new piece. For me, the creative process happens twice (from idea to execution); it is a circular, concentric and elastic process; where I question absolutes, created and assimilated imaginaries, proposing new paradigms. It is the notion of circularity that allows me to approach themes in a multidisciplinary and interconnected way. Interpreting movement, and how the spatiality of points A and B make the definition as an artist. Traversed and influenced by colour theory, I am also defined by trajectories and experience, understood as a spatial mode of being (Marc Augé). My creative process emerges from a process of inquiry and deconstruction of the incorporated. The curatorial narrative is part of this broad, deep and indivisible process, where the notion of purification towards the abstract explains my work.
What visual references do you draw upon in your work?
Temporality and movement are my visual references. That's why I experiment with the notion of colours and their spatial arrangement. Temporality and movement are very abstract and elastic concepts; to bring them together in my work is a challenge I have when I start each new piece.
What/Who are your key influences?
I feel that my work has taken something from some pictorial movement or school; however, the work and narrative of Picasso, Miró; the abstract expressionism of Die Brucke; Latin American constructivism; as well as the works of Delaunay, Burliuk, F. Marc, Klee, Kandinsky, Dalí, Mendieta, Torres García, Gurvich are places that I always return to and rediscover.
Are you currently working on any exciting new projects?
Yes, I work on several simultaneously. The one I've been working on the longest is IACCA, which consists of developing an indicator of the impact of climate change on art. As artists, we have something to declare, and IACCA proposes to make visible the impact of climate change on art itself; also the development of an interdisciplinary application (science, technology, and innovation) that allows us to visualize in real-time how a work would be affected by climate change for a certain period of time, assuming certain suppositions. IACCA has several parts. The creation of an indicator; the development of a platform; the application of IACCA to work and its installation performance; and finally the creation of a new work from painting.
What is the future of ART?
The future of art is today. I don't think art could foresee a better future in other times than today. Like any crisis, understood as relocation and movement, the COVID crisis affected artists and the entire art ecosystem enormously. This affectation has varied according to country or zone; or simultaneous conflicts. But what is certain is that it also revalued art; it demanded artists to be more creative; galleries to develop platforms that would allow them to show their artists and attract new audiences; even that museums set up virtual guided tours. The crisis demanded imagination and creation. Another example is the rise of NFTs, which in addition to showing and marketing digital art, have become a financial asset. Centuries ago, art did not foresee it. Now, as a circular process, painting, in any medium, acrylic, oil, etc, returns to the beginning, achieving a balance between the unique piece and the millions of reproductions of an NFT.
Original text PURPLEHAZE MAGAZINE
Interview by Irina Rusinovich