Art Gallery of Maritime Museum of Ushuaia
We see here a fragmentary, phantasmagorical record of intimate visions of your maternal garden in San Juan, telling it with the remains left by the Fuegian sea on the beach, day after day.
A monochromatic catalog, with flashes of color in the drawings, interweaving the memory of the dream.
A contemporary operation, oscillating in the search of a balance in this organic duality raised with technical rigor before our eyes.
Of autobiographical character, this sample is pronounced from the theories proposed by Reynaldo Ladaga in Aesthetic of laboratory. The author points out that the artist ... puts on stage for others and also for himself: I constitute myself ("I" is constituted), as I can, with the materials I find and the resistances that I have, in the changing panorama where I am and where sudden people appear whose expectations and intentions I would like (but I can not) to finish guessing. I constitute myself by showing myself. The work shows a phase of my life that reflects the uncertainty made duality.
The curatorial discourse has a binary logic, the organic along with the inorganic presented in two sets of images united by a hinged work that shows photographs of the route, the sea, the journey.
First group of works, frames that I made in my mother's house, botanical material that was within reach, in the garden. They are of several species such as olive rose, dengue and malvón in particular its flowers are observed.
On the other hand, I show the photographs that I made in the city of Rio Grande, objects that I collected from the vast coastal landscape, selected with an aesthetic and technical criterion. The place is presented as an immensity that is addressed by a more free and experimental, the remains left by the sea on the coast are valuable fetishes for me, they serve both for the studies carried out as well as certainly affect the dwelling.
The images are mostly photograms, but they are also presented with lumen impressions, stenotic photographs, drawings and object-installation.
The frames are photographs without a camera, made inside the laboratory, they were made with the collected material placed on top of the photosensitive surface and exposed to light. Negatives and positives of these are presented. The frames were worked carefully trying to control the contrast, brightness and composition.
The Lumen impressions basically consist of exposing the organic material on the photosensitive paper to the sun directly approximately 30 minutes at noon and then revealing and fixing the image in the laboratory. The images were made in my mother's house, in some cases salt and water were added to enhance the result.
The stenosed photographs were made with several cameras made mostly with metal jars of different dimensions. The photosensitive paper is placed inside the chamber and then the pinhole is opened for approximately 8 seconds, then the development process is continued and fixed in the laboratory.
Several images obtained with a digital camera are displayed.
In the sample also presents drawings on a black support, they have drawings created from the evocations left at the end of the day of collection on the seashore.
Finally, an installation of a circular support with a collection of objects extracted from the coast of the sea is presented.