What pieces or projects have you been working on lately?
I’ve been working on different pieces—both personal projects and work for various clients. I’m giving myself space to explore different techniques. I would love to exhibit my work in a solo show, and more than ever I’m thinking about how it could scale up and take on a different dimension. I dream of giant sculptures, inflatables, and murals.
What did you learn (or unlearn) while working on them?
I think learning and unlearning are part of the same process. I’m learning a lot from my own practice. I’m giving myself the time to understand it more and better.
What words, ideas or emotions were going through your head?
The first thing that comes to mind is: many. That’s why I always keep my notebook close. I write in it, make doodles and sketches—I tell it many things. I used to treat it with a lot of respect and thought it was something for others, a place where someone else might see finished and perfect pieces. Today I understand that it’s for me, and it has become a space where I accumulate words, ideas, and emotions.
Were there any conversations, movies, music, or books that made their way into that work?
Everything slips into the work. From the seemingly smallest things, like the place where you had your coffee in the morning, to the most meaningful ones, like the three-hour conversation you had with a friend. I think that if your sensitivity is active, routine itself is what nourishes the practice.
What's been the most difficult thing you've faced recently in your creative process?
To be very honest, I think the most difficult thing I’ve faced in my creative process is what I’ve called “the loop of obsession.” It’s very hard for me—even if it sounds cliché—to let go of control. I’m very obsessive about my work, and the eternal question I ask myself is whether it will be possible to stop being that way, and how. To incorporate error—or rather, to allow my conception of error to lose its weight.
What is your favorite restaurant and what do you recommend we order?
It’s hard for me to think in terms of a “favorite,” because I find it a bit too definitive—too permanent. If I had to speak about this moment in my life, I’d recommend any classic bodegón porteño, the kind you can find in Buenos Aires, and I’d suggest ordering a plate of pasta.
If your life were a movie this month, what would it be called and who would write the soundtrack?
Almost Everything Will Happen in a Way You Couldn’t Plan, and the soundtrack would be by Courtney Barnett , because over the past few months her records have been playing constantly while I work.
Which studios, laboratories, or workshops have you collaborated with recently or would you like to collaborate with in the future?
For some time now I’ve been collaborating on projects oriented toward building community—toward returning to face-to-face encounters with colleagues and friends—and I’ve been enjoying it immensely.
Recommend one or more artists you follow who inspire you, and tell us what you like most about their work or their way of working.
Local scenes inspire me. That’s why whenever I can, I travel and do everything within my reach to connect with people who are working in the places I visit, to understand how they make what they make and what they think about their own work.
Argentine illustrator. Her work creates universes full of color and unique characters. Through bold shapes, stylized geometries, and defined lines, she builds a distinctive view of the everyday.