I was born in London and raised in Argentina. After going to art school for a couple of years I co-founded and directed a small indie art gallery called "Costado" in Mendoza (Argentina) with fellow artists Constanza Giuliani, Flora Leal and Facundo Diaz in 2008. When I moved back to London, I completed an MA in Animation at the Royal College of Art (2017). As a visual artist, I have taken part in numerous group and solo shows throughout Argentina, the UK, Belgium and Bulgaria. My animations have circulated through international film festivals such as the BFI, OIAF, LIAF, Annecy, etc. I am now a freelance multidisciplinary artist and animator based in my home studio in London. My work includes mainly paintings, drawings, embroidery and animation. To date, I have animated and directed three short films and several music videos for POLYDOR, Domino Records and Red Light Management as well as for an award winning documentary called "All Monsters Are Human" by One World Media.

About My Work:

I am a visual artist who focuses on painting, embroidering and creating 2d hand drawn animations. I work within and around the bounds of a Postmodern Pop Surrealism. Although my work is figurative and often narrative, I like what Susan Sontag said - that art is a sensory experience. Sensuality is important, words can be insufficient, verbal ideas too concrete for me. My aspiration is to create pieces of surreal sensuous visual poetry that doesn’t take itself too seriously but is utterly devout. I want to  visually relay or aesthetically emote a particular feeling or mood, and, through the alchemical action of art, to pour this mood or “visual feeling” into someone else’s consciousness. 
When I work I feel like a vessel, like I’m channeling something, like a spiritualist performing a seance, plucking art imagery down from the Ether or maybe from somewhere within my own head. A place. I like the idea of mining for inspiration in the caves and tunnels of my subconscious mind, as if it were an actual place - somewhere that shimmers behind the brain’s fleshy surface. I don’t know if art comes from within or from outside somewhere - to me, it appears as an amalgamation of different elusive imagery that is morphing and merging into one thing and different things, an image that becomes a feeling that becomes another image that triggers another feeling. It feels like an alchemical process.

As subject matter, most of my paintings and my short animated films have an oddball female protagonist inserted into an uncanny or oneiric parallel world and there’s often a sense of foreboding or silent lurking violence. Like they’re wandering through a space that’s caught between a dream and a nightmare. My work features an underlying sense of absurdism and pathos too and has strong elements of camp and, sometimes, cartoons. I like to explore visual ideas around the subconscious mind, sensuality, vulnerability and loneliness, existentialism, romanticism, melodrama, fantasy, madness and the Otherworldly.

While developing my latest works, I’ve been reading “The Madwoman in the Attic” by Sandra Gilbert and Susan Gubar and I’ve found it very illuminating as a female auteur. Part of the symbolism that recurs throughout my work draws its roots from a long line of female (covertly feminist) eighteenth and nineteenth century literary authors who were part of the Romantic Gothic Horror tradition, or “Female Gothics”. The premise of their book is that certain tropes (for example, an abundance of mirrors, large and foreboding manor houses, mad female doubles, etc.) function as an expression of a particular sort of female anxiety. This fascinates me. It’s a really interesting book and it’s satisfying to feel like some of my ideas are reflected and spoken through someone else’s words, and that I can aspire to participate in that cultural milieu.