Bio

Most things made more sense when I became an architect. Suddenly all feelings I had inside have space to grow and take shape. I understood the connections between art and artist, artist and their work, and work and people. It was a time in which I attended exhibitions more often and at the same time I had something to learn with the artists I contacted.

During school I was a fan, unconditionally fascinated by some artists and architects, and lately those things changed to be more to the side of understanding their point of view even when I didn’t share or like the result.

As the time passed, not only did I become an architect but I also taught architectural history and design in school. Those activities gave me the capacity to understand and guide others as well as grow in my background reading more authors, historians or artists that otherwise I will not be able to have contact with.

I need to direct my attention to other subjects that are part of my profession even though they have nothing in common. Marta Zatonyi, my beloved teacher during school, helped me with philosophy, art history, movies and books in her courses, seminars and lectures that I followed and connected the dots to become what I am today. Through her I uncovered a huge universe of artists, languages and expressions that I had no idea I was capable of understanding and enjoying.

That is why it was so natural for me to start painting when my profession put me in a position as a guide, rather than as a designer. This meant that I wasn’t able to express my artistic vision through architecture, which is [maybe] what I loved most about the profession. So I put together the materials that knowed during my construction site visits, my expression and the points started connecting. I was able to establish a good relation with my darker parts and anxieties, bringing them to light and converting them into art and feeling the real connection with them. In the same way I was understanding the artists with Marta, I started to understand myself growing in technique and poetry that my work acquired.

But it was always the city that attracted me, and how the people related and used it. So I had also been writing about architecture in NYC and other topics in a blog that I called “critical study of reality, the city, and its evolution” http://ny-architectura.blogspot.com. Some of the articles have been published in “Guía de la Construcción” in both printed editions as well as their website.

In recent years I have attended the Nyack Center Figure Drawing where every week there is a different live model and I was able to have close contact with the human figure http://nyacckcenterfiguredrawing.blogspot.com. This experience helped me connect memories with questions about myself that I didn't know I had. I contacted a lot of artists and different ways of representation. I worked with pastels and charcoal, all that time building up my knowledge about the human body. The Nudes collection is the result of this journey and continues until today.

Eventually during my second reading of the Odyssey I started designing a character that with time I realized was me. As Odysseus needs to return to Ithaka, I need to return to my Buenos Aires (my home town). This is how the Odysseus collection grew and has the work of twenty or more designs that express my relation with others and the city.

I started to develop my collections, Invisible Cities and later Divided Cities, both connected directly with the city and my desire to show myself as a translator of that passion for urban space and what I learned in my younger years.