Somos dos
Lithography, Foil Image and Silkscreen, 2013
Mixed Media Series
Each image is unique and despite the technical requirements of each process in these works there is no intention of editing. They are then like pages of a diary impossible to repeat. These works originate from experimentation with the different print media processes such as lithography, silkscreen, photogravure, foil image, and digital printing, and materials such as wood, plexiglass, aluminum foil, laminated sheet or different types of handmade papers.
Light Box
Wooden Box, with Lithograph, Photogravure and Silkscreen, 2014
75 x 75 cm
Shapes and Spaces
Etching, aquatint and digital prints, 2019
Home
Woodcut and silkscreen on Japanese paper, 2018
Lo que Callamos
Silkscreen and intaglio with text transfer, 2013
Limite
Silkscreen and Lithograph, 2015
Memorias de un Nuevo Lugar
Digital Print and Silkscreen, Chine collé, 2013
Be as if I were with you
Photogravure and Digital Print, 2016
35 x 20 cm
The Face is the Only Location
Digital Print and Silkscreen, 2013
Dos veces en mi Ventana
Digital Print and Lithograph, 2013
Looking inside
Silkscreen, photogravure and Intaglio, 2017
Town of Miracles
Silkscreen, Photogravure and Intaglio, 2016
Grabado Objeto
Esta serie de trabajos exploran las posibilidades tridimensionales que las superficies impresas en serigrafía ofrecen. De esta manera se imprime sobre láminas de acrílico, madera, o inclusive en las mismas placas de metal para construir cajas de luz que incorporan imágenes de álbumes familiares. El carácter afectivo de estas imágenes y la misma calidad de los materiales rememoran los espacios interiores domésticos o inclusive altares en donde se preservaban fotos de la familia.
El Espejo
Silkscreen Installation with Copper plate and Plexiglass, 2016
Door in Space
Silkscreen, Photogravure and Intaglio, 2018
Into the Box
Wooden Box, Silkscreen and Text, 2016
Remains of the Past
Wooden Box, Silkscreen and Text, 2016
O Turista Aprendiz
The Series O Turista Aprendiz
These series are an homage to Brazilian writer Mario de Andrade’s ethnographic travel through the South American Amazon region. This travel is for Mario an illuminating journey in which he feels stranger in his own land. This is a travel of discomfort, the discomfort of the journey into the unknown where the everyday is replaced by novelty, the exotic, the different. These substitutions are elaborated and accompanied by the paradoxical feeling of always being “out” of events and, at the same time, the need to integrate and participate in these events.
The journey is not leisure, but painful learning, suffering, crossing the border zone between the imaginary and the real, popular and erudite, and marks the off-center path from its own intellectual limits to incorporate elements considered to be outside the official culture. Not knowing how to travel means not knowing how to adapt to multiplicity, not knowing how to work the different, the Other
O Turista Aprendiz and the ESMA in Buenos Aires
The ESMA Museum and Site of Memory is a National Historic Monument, a MERCOSUR Cultural Property, and is part of the UNESCO World Heritage List. The building that houses it, the former Officers’ Quarters of the Navy Mechanics School (ESMA), is a proof of State terrorism and judicial evidence in the cases for crimes against humanity in Argentina.
Photogravure 2019
O Turista Aprendiz and the Colombian abandoned Tropics
Mampuján is a town located in María la Baja region in the Caribbean department of Bolivar. Being a strategic place for the passing of guns, drugs and arm forces. Mampuján villager were caught for years in the crossfire between paramilitary and guerrilla groups. Today after years of violence and displacement, it inhabitants search for a change that brings life back to Mampuján.
Photogravure 2019
O Turista Aprendiz and Yungay, Santiago de Chile
This print makes reference to the marks left on Santiago de Chile, in this case specifically in the Yungay neighborhood of Santiago. This place witnessed a systematic history of human rights violations committed by the civil-military dictatorship that devastated Chile between 1973 and 1990.
Testimonies of these violations are presented through the history of locations such as the San Juan de Dios Hospital, the Barros Arana National Boarding School (INBA), the Bulnes Bridge, the Los Capuchinos Church, the headquarters of the Committee for Cooperation for Peace in Chile, and the mural in honor of the MIR leader Jécar Neghme is reconstructed. These six places marked the recent history of the neighborhood where the Museum of Memory and Human Rights (MMDH) is located.