Buenos Aires, 1980. Visual artist, Graduate in Textile Design, completed a postgraduate specialization in media and technologies for pictorial production (UNA).
Her works have been exhibited in cities in Argentina, Mexico, Cuba, Colombia, Bolivia, Peru, Spain and the United States. She highlights her last two individual exhibitions: “Experiences of dematerialization” at the Mac Quinta Normal Museum in the City of Santiago, Chile (2022-2023) and “The Blood of the Earth” at the Pavilion 4 Contemporary Art Gallery (2021 – 2022). Among her collective exhibitions are “3 videos” with Fabián Nonino and Ana Gallardo in Panal 361 (2017), and “Las scenes del bardo” bipersonal with Manu Fernández López curated by Guido Ignatti in La ira de Dios (2016). Her recent distinctions include the following selections: Alec Oxenford Scholarship, Art x Art Photography Biennial Alfonso y Luz Castillo Foundation, Itaú Cultural Award for the visual arts and Ayersa Photography Stimulus Award from the National Academy of Fine Arts. She was a guest artist at the XIX International Biennial of Visual Arts of Santa Cruz de la Sierra and the IV International Biennial of Performance Deformes in Chile. Her works make up various collections, among which the Campo Cañuelas Museum (Buenos Aires) and the MAC Museum (Santiago de Chile) stand out. Likewise, she has participated in international fairs.
Founder of different platforms, she is interested in approaching her artistic and curatorial work from immersion in the city’s territory. She my Micromuseo and Undermuseo were spaces for the exchange of processes and ideas with support from the National Fund for the Arts. She Currently she develops the Pozo Project, transdisciplinary research within architectural construction processes. She is a member of the women’s collective Expanded Body.
Her current production focuses on the performative act as a process of individual and collective healing. Spaces, actions and remains are reconstructed by investigating the transmission and microhistory from ritual actions. There the work obeys an identity gap that seeks to appease itself in catharsis and archeology, the result of which results in photographic pieces, videos, objects and texts. She vindicates the trauma, the damaged and the forgotten as a path towards a rewriting where the personal becomes universal and vice versa. The past inhabits today, where the found object operates as a mechanism of emotional resistance.