My proposal for the Congress consists of two parts: 1) a presentation of my work during the last ten years, which will serve as an introduction to the second part: 2) a discussion with Michael FitzGerald on issues of identity for a contemporary artist, particularly in relation to the legacy of Picasso.
During the last ten years, my work has substantially engaged the history of cubism and its relevance for contemporary art. In 2006, I began a series of paintings that constitute a major departure in my work. These paintings started with the act of placing marks to fill large canvases; yet I soon realized that these marks evoke the organization and tonality of cubist paintings. Although my paintings are substantially larger than most cubist paintings, and they abstract, rather than figurative, their formal structures resemble both the palette and fragmented patterns of analytic cubism. This initial series of four paintings, titled Desenlace I-IV, were chosen to represent Argentina at the 52nd Biennale in Venice in 2007.
Since this departure, I have created many paintings in what I call “cubistoid” styles to distinguish them from historical cubism. While my recent paintings engage many longstanding issues of my more than thirty-year career, they also explore a wide range of historical cubist styles – including those of artists from Latin America, from Torres- García to Alfredo Hlito, as well as Picasso, Braque, and the Futurists, among others. Although I was fascinated with Picasso’s work at an early age, this intersection with cubism in the midst of my mature career was entirely unexpected. It has prompted me to examine carefully my own working methods and goals, as well as their relation to both historical cubism and the significance of this tradition in contemporary art.
In the Part 1 of my presentation, I would project images of these works and discuss the issues of process and references they raise in relation to Picasso and issues of identity.
In Part 2 of the presentation, I would discuss these issues in conversation with Michael FitzGerald, who wrote the essay for my recent exhibition at Hauser and Wirth Gallery in London (June 2016). Our goal would be to broaden our inquiry beyond my own work to engage questions of how identity is defined by contemporary artists, particularly in terms of relationships with Picasso and other historical artists. We would explore questions of artistic legacy, and relationships of identification or affinity in this context with particular attention to Picasso’s relevance.