He studies at the Manuel Belgrano and Prilidiano Pueyrredón National Schools of Fine Arts. He exhibited in 1958 and 1959 at the Galatea Gallery. In this last year he joined the Informalist Movement. In 1960 he participated in the Ridder Prize for Young Argentine Painting, at the Pizarro Gallery and in the First International Exhibition of Modern Art, at the Museum of Modern Art of Buenos Aires. He also integrates the exhibitions 14 painters of the New Generation, at the Lirolay Gallery and 150 years of Argentine Art, at the National Museum of Fine Arts.
In 1961, he participated in the Ver y Estimar Award, at the National Museum of Fine Arts; in the Contemporary Argentine Art exhibition, in Rio de Janeiro, Brazil; in the Destructive Art exhibition, at the Lirolay Gallery and at the 2nd Paris Youth Biennial. He again participated in the Ver y Estimar Prize, in 1962, where he was invited to the Sculpture Prize of the Di Tella Institute.
In 1963 he joined the Boa-Phases group and participated in the Van Riel Gallery exhibition. In 1964 he participated in the exhibition Object 64 at the Museum of Modern Art in Buenos Aires. The Di Tella Institute invited him again in 1965, to participate in its contest, where he presented Spatial Denotation. During this year he made most of the ceilings installed in private residences in Buenos Aires.
In 1966 he settled in London for a year. There he works on sculpture techniques with polyester resins, at the Royal College of Art. Later he moves to New York, where for nine years he creates settings and works on industrial design projects. He also collaborates on various architectural works and projects “sculptural ceilings”, including the ceiling of the Suplicy Offices, on Wall Street, and the settings in the Golderberger and Burk Zanfi residences, in New York. Among other pieces, he designs lighting fixtures, furniture, and multiple sculptures to be published in series. In 1975 he returned to Buenos Aires. He is a member of the Sensitive Abstraction group, whose three exhibitions were held in 1981. In 1989 he obtained the Grand Prize of Honor at the Valparaíso Biennial, Chile. Since then he leans towards an abstraction with a very free geometric base, full of spontaneous interventions of gesture, graphics and unhidden brushstrokes. In later works, he notices the emphasis assigned to color and quotes from the comic. Then some elemental and geometric characters appear, with long arms.
He exhibited individually in Rio de Janeiro (1987), in Buenos Aires (1988), in Santiago de Chile (1989), in Costa Rica (1991), in Guayaquil (1992), in Caracas (1993) and at the Rubbers Gallery in Buenos Aires in 1998.