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I started painting abstraction around 14 years old, mixing any type of material I had around and painting on any type of support available. My first big painting was on a sale sign that was outside my house, on metal. I’ve always felt attracted by heavy materials, and substance. How this relationship of matters creates life. I didn’t really begin composing with the material but more from a driven action of adding and ‘putting together’ what it was there. I think it was more a humble approach of saying ‘Hey look at here, It’s alive’.

Focusing on the sensibilities of ‘the substance’ that is constantly transforming around us. The social context, the ‘scars of the city’ or the dirts of society.

I stared working on found objects and pallets from construction sites. Exploring raw materials in their natural element: color, texture, vibration and history.

During this period (2013-2017) I was inspired by artists from the Informalism as Alberto Burri, Antonio Tapies and Lucio Fontana. 

Matilde Bensignoir Gallery. Buenos Aires, Argentina (2015).

My first solo show at Matilde Bensignoir Gallery (2015) were 8 pieces on wooden pallets made from a different mix of materials: Mica stone, tar, cement, glass, sand, gesso, synthetic paint, plaster and acrylic.

I kept deepening into this practice during 2016, letting the support visible as part of the composition, adding to the matter a pictorial aspect.

Painted as experiments of the matter’s behavior and relationships. Their reactions and fusions. 

In 2016 I had my second solo show at P.O.P.A Gallery, showing a selection of 10 pieces on found wood.

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Paintings at the studio, Buenos Aires, Argentina. 

‘Vapor’ series for P.O.P.A exhibition (2016).

During 2017 more influenced by artists like Cy Twombly and Helen Frankenthaler. I began a new series of works at my studio made from found cardboard boxes, canvases and paper. I chose these different supports to show the ethical contrast between them on a same subject: the synthesis of matter. The abstraction of matter, the subtle pictorial representation its own memory,

The synthesis of the form giving space to the empty spaces.

To say the same with less, or the less possible. 

‘Recent works’ Miami, Fl (2017). 

Series of 2 canvases, 2 papers, 4 cardboards and a selection of 17 drawings:

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Exercise 21 on cardboard. 
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Exercise 63 on cardboard. 
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Paintings on cardboard:

‘Untitle’ 23.6 x 70.8’’ / 60 x 180 cm, 2017.

Picture at the studio in MIA, 2017.

‘Untitle’ 60 x 107’’ / 152 x 274 cm, 2021.

‘Untitle’ 47 x 47’’ / 120 x 120 cm, 2019.

‘Untitle’ 78 x 78’’ / 200 x 200 cm, 2022.

‘Untitle’  47 x 39’’ / 120 x 100 cm, 2019.

View at Tomas Redrado Showroom, Sunny Isles, Fl (2020).

‘Landscape of fake fantasies’ oil, spray-pain, pastel on canvas. 79 x 72’’ / 200 x 180 cm. 2020

‘Make it rain’ Acrylic, oil, spray-pain, pastel on canvas. 72 x 48’’  / 180 x 120 cm. 2020

‘Delicate hoe’ Acrylic, oil, spray-pain, ink, pastel, marker on canvas. 118 x 98’’ / 300 x 250 cm. 2020

‘Stupid husband’ Acrylic, oil, spray-pain, ink, pastel on canvas. 118 x 98’’ / 300 x 250cm. 2020

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Live painting at Showfields Miami, 2021.

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