She studied for five years at the National School of Fine Arts «Prilidiano Pueyrredón», where she specialized in painting. During those years of training, her approach to photography was self-taught and was influenced by the “trash pop” aesthetic that accompanied the so-called “millennium error” or Y2K, the computer crisis of the year 2000 that preceded the last worldwide expansion of Internet. From 2001, she began attending Diana Aisenberg’s workshop and crit. In 2002, her work was selected in the “Curriculum 0” contest (Ruth Benzacar Gallery). Between 2003 and 2005, she participated in the Guillermo Kuitca crits in the framework of the Workshops Program for the Visual Arts of the Ricardo Rojas Cultural Center (UBA-Kuitca). In 2003 he made her first individual exhibition at the Casona de los Olivera and then, in 2004, she exhibited for the first time at the Ruth Benzacar Gallery.

Through manipulation and digital retouching, Da Rin merges self-portraits and images taken from the Internet with which she composes complex scenes full of expressiveness. With these tools he has traveled various topics and has put herself in the shoes of numerous characters throughout her career: she investigated femininity and its social stereotype, worked on the young girl (adolescent or young woman) as an exacerbated consumer model and paid tribute to female artists who had been left out of the canonical narration of art history. Although she resorts to fiction, Da Rin’s work is strongly autobiographical and illustrate an emotional catalog of contemporary affective situations related to consumption, subjectivity, desire and body.

Her work was part of the Busan Biennial (South Korea, 2006) and the Argentine submission to the Cuenca Biennial (Ecuador, 2007). Some of her most outstanding individual exhibitions are: “Who´s that Girl” ( a retrsopective curated by Laura Hakel at the Museo de Arte Moderno de Buenos Aires , 2019), Eyes Wide Open (curated by Julien Robson, Speed ​​Art Museum, Louisville, Kentucky, United States, 2008), The Mystery of the Dead Child (Ruth Benzacar Gallery, Buenos Aires, 2008; La Capital Foundation, Rosario, 2011; Cultural Center of Spain, Córdoba; 2012, and MAC – Museum of Contemporary Art, Salta, 2012) and Terpsícore entreguerras, (Ruth Benzacar Gallery, Buenos Aires, 2014). She also worked for design firms such as Cartier and Hermés. Her work is part of numerous public and private collections.