Artists in Motion aims to introduce you to our artists and their worlds; to allow you a glimpse of their sensibilities and unique perspectives, and the ideas, experiences, people, and places that help inspire their work. Through this series, we hope to give you an idea of how our artists create meaning through the unique works of art that you will take home.
"Many of my images could have movement, because I take them from a living moment."
What inspires you? Tell us about your working process.
Emotions inspire me; how I perceive different experiences in my life. Drawing is the tool I have to communicate my feelings and thoughts. I look inwards to find images when I’m working. The important thing for me is to look for where these images come from, how did I come to feel this way, what kinds of characters were present at this moment, and in what context did this image develop? Only through observing those moments carefully and being conscious of every detail, as if one was playing the piano, I get inspired.
Where do you work? How is your work routine?
Some mornings I go jogging, others I go straight to drawing. Jogging is part of my creative process; I get fill with ideas. Many images appear to me while I’m in motion. I work at home, I spend many hours in solitude, something that I really enjoy. My work is time consuming; there was a time that I used to work fast, but not now.
What artists influence you?
Remedios Varo and Leonora Carrington always seemed to me like a double explosion in the history of art. Their friendship, how they came to understand and influence each other, it’s just incredible. Working with paper I like artists like Elsa Mora, Mia Pearlman, and Johanna Willhelm in Buenos Aires… My work is definitely influenced by women.
You were born in Argentina and live in Germany, how does this influence your work?
I feel that moving to Germany saved me. It showed me that if I don’t feel connected there with a reality that I like, there is nothing more, because I return to my center. And this I think is because I moved for love, and evidently there did not exist the possibility that I could be complete artistically without my partner. For this reason, Germany in general inspired me with other times, other fashions, other flavors, other sounds.
How did you start your career and why did you choose paper cut as you way of expression?
I studied illustration with someone difficult to describe as an artist: Sylvia Matto. Silvia will be always be my teacher, because she was the person who guided me inside myself, and she taught me the tools to express myself.
There were many years of sharing a space as very sensible and generous colleagues, from which I learned a great deal, without a doubt. In the middle of this searching and learning, I became clear that neither acrylics, ink, or pencil were going to be my final destiny, because I always felt very clumsy with them.. What I didn't know then is that paper was going to be something so addictive for me.
Your work is wonderfully detailed. What is your philosophy behind this attention to detail?
It’s hard for me to think that something is going to end, and, in some way, I can associate it to my way of working. When I start a draft, I like to feel that I’m going to take my time to work on it, that I don’t have to rush to finish. The details allow me to be focused on a very small portion of the paper for hours. It’s like being hidden in this place.
There is something magic in your work: your landscapes, your characters have a feeling of coming from legends or fantastic stories. Could you tell us about this?
One day I asked my mom what I was like when I was a child and she said that the first thing it came to her mind was the image of me sitting by myself, always in the same spot in the house, playing alone, talking to imaginary friends and making up stories for hours.
The day my mother died I had to go to her house to pick the clothes she was going to be dressed in [for her funeral]. When I arrived at her house and went into her room, I suddenly realized two things: first, the meaning of death, and[also] that that in the last 10 years of her life my mom was in her pajamas. I had the sensation that it was ridiculous to want to dress her in street clothes. Anyway, I chose that which I thought she would rest the best and I brought that.
A month later I moved to Berlin, very anguished. One morning I sat down, closed my eyes and searched for a moment that connected me more with the heartache that I was feeling, and then I returned to my mom’s bedroom. My mom was there, and at her side was María, her nurse. When she got up from her bed, I saw that she was wearing the most beautiful robe and pajamas I’d ever seen. Then, some figures came and guided her slowly from the room. I was in a corner of the room, playing the harp. [In reality, I don’t play any instrument, but everyone says that when someone dies, they play the harp. So, I supposed that the instrument appeared because it was suitable to the occasion. These are my stories, my scenarios. My characters exist or have existed and with these images, I am able to disarm the sensation of heartache and turn it into a peaceful feeling. Many of my images could be animated, could have movement, because I take them from a living moment.
Why should we have art at home?
Because we take home a fragment of the thousands of things we see everyday, and because we can’t take it all with us, we do a more personal selection. One chooses a piece and a specific place for it, and then creates a special relationship with the artwork. Every day you see it again and it reminds you of that relationship, that feeling. A while ago, my friend, artist Eleonora [Arroyo], sent me an email telling me that she bought one of my pieces in a gallery in Buenos Aires. I loved her gesture, I thought it would be so cool to have a blog where people can write about the artwork they buy and what they feel about it, why did they pick them (although it would be tough if they say they got a piece because it matches the sofa! :-)
What do scissors represent for you?