BIO
Gabriela Agüero
1973, Buenos Aires, Argentina

STUDIES
2013 Bachelor of Visual Arts, Orientation in Engraving and Printed Art, IUNA
1998 National Prof. of Engraving, Esc Nac. Of Fine Arts P. Pueyrredón IUNA
1995 Master in Visual Arts, Esc Municipal de Bellas Artes Carlos Morel, Quilmes

His teachers were: Beccaría, Scannapiecco, Santander, N Villarreal, G Buratti.
Scholarships with A Scavinno and A Díaz Rinaldi

EXHIBITIONS
2019 H C D Morón
2016 Zero Space
2010 and 2012 CPA Morón
2008 French Alliance, Flores | Munic Morón
2007 HCD Morón | SAAP CABA
2006 CC L Marechal.Hurligham

AWARDS
2nd Prize Mini Print Cantabria, Spain, 2019
Special mention, CPA, Province of Buenos Aires 2017
2nd Grab Artvilo Award
2nd Mention, ANBA, Bonifacio del Carril Award, 2012
Mention Monocopy LIII Salon M Belgrano 2008
1st Mention Engraving: Munic San Fernando Room
1st Engraving Award, SAAP. 2006
Unique Mention: Hall A V P Pueyrredón. 2005

Gabriela Agüero

RESIDENCIES

Vestiges

25.11.2019 to 29.11.2019


VESTIGES


(Trace, signal, footprint, clue, mark, memory, evocation, impression, imprint
relic, rest, residue, particle)
The remains are, in short, what allows us to reconstruct something of the past.


I had traveled a ships cemetery and the rusted remains had an impact on me, time had transformed them and I wanted to stop it at that moment. I found beauty in them, a beauty constituted by their scars, by rust and wear, by history and the secrets they would keep.


I kept thinking about the rust for a long time. One day I discovered in my workshop the iron and tin matrices I made when I was studying. I had wrapped them in paper and kept carefully, 20 years later the matrices had rusted, stained, degraded and eaten away. Again, I saw a unique beauty in them, they were part of my own story, they were my matrices (my own being).

Time and the action of nature are inevitable, so I decided to use them. I placed the matrices outdoors, so that the rust would continue its honorable work. At the time, I discovered great strokes and I realized that I would not have been able to draw like that.

I thought of the engraving, of the imprint that these matrices, stripped of their original function, now proposed a new discourse and a new language.
At ´ace, I scanned and photographed them, and then used the images to make photolithography.
However, the rust had a greater discursive power.
The process was enriched and proposed multiple actions.