Hello Milu, how are you doing these days? Are you preparing something new?
I’m doing fine. I recently finished a wall and the next week I’ll be starting another one so I’m in my in-between-walls mood that usually involves a lot of resting and some canvas painting.
I really liked your most recent wall in Los Piletones. It seems a new step in one of your recurring themes about woman’s rule inside the family or between a relationship. Would you like to tell me something more about it?
I was invited to paint by a social project fundation, but well, I think I’m not painting women’s rules when I paint female characters, but usually they are perceived that way. My male characters don’t stay much in the memory of my audience. For example, in my last wall, there was a woman and a man, but somehow people read more into the role of the woman. I think the cause of it , could be the political context we are living, but also in how my female characters are interpretated. My representation of a woman is distance from the common representation of a woman that we are used to by the media of this heteropatriacal society.
Looking at your portfolio I’ve enjoyed the feeling of emptiness and loneliness that shines from your subjects. There’s an odd power that crushes your characters and at the same time it pushes them through their own destiny. Is it just a social complaint or is it more your immanent vision?
I like your reading about my characters. There is no social complaint in most of my work. I like creating open images or open stories that carry some ambivalence between innocence and darkness. I also try to reach the ambivalence of the gender “Pure fantastic”, where the doubt of being fantasy or reality always remains. Usually people ask “ what’s the meaning?” of my walls when I’m painting but I thing I succeed the time people will ask me: “to what story does that character belong?”. Of course, I deal with some limits of some organizations and curators on the potential darkness the ones that have some some social or political complaint are usually consequence  of my political views and context, although I never doctrine direct message, but tries to be more of a political act the painting itself.
Go back for a moment to your beginnings, what was your urgency in starting painting on the walls outside, and what did you find during this process?
In my neighbourhood, some artists started painting big walls, so is like watching Jimmy Page playing guitar. If you have the mínimum interest on guitar playing and music you want to play like Jimmy Page and you start practicing. Practicing painting walls its an outdoor activity unless you have a huge house with big walls, which wasn’t my case. Out side I found the public spaces, the colouful mix of everybody, the richest contrast and differences of the most talkative society that is the Argentinean people.
And what about now, what pushes you through your art, what’s the engine power of your motivation?
I think, in one hand, my personal painter growth and on the other, the curiosity of the pontential  and limits of painted walls.
I really enjoy when I’m sorprised by extreme positive or negative reactions of my work in different cultures.
In recent years I have heard a lot of opinions about street art. Some people think it’s the greatest artistic revolution of the last 50 years, others consider it a bubble ready to deflate. What do you think?
Painted walls exist since forever. I think the term “Street art”, wich I consider a globalized label made up by the market and sensacionalism, its just a new term for muralism in the Facebook paradigma. Michelangelo painted for the church then, now he post walls in Facebook and is called by capitalists for commissioned works. It’s just painting walls in the new “make it big, make it global, make it viral” social media paradigma.
Most of the artists claim to be original, saying something new or better than others. But looking at the infinite artistic production achieved so far is very hard not to find something mentioned earlier. I know it’s hard to admit, but if you had to choose one artist or an artistic movement, of who would you say, “Well, I took something from him/her, I’m in debit with him/her”?
Well, I think I’m in debt to my mother who bought me awesome good quality children literatura books, including an illustrated versión of Haroun and the Sea of Stories, and my father for lending me his painting while he painted as a hobbie and showed my lots of books of painters. Also to my painting Friends who walked along me discovering new painters and comics. I was influenced by so much that, as you say, is hard to mention just 50. The internet and globalization made this infinite library that dive into my retine constantly in such a messy way that is hard to indentify.
Tell me three artists you admire at the moment, who do you think is doing remarkably well?
I have this childish aproach that if i mention 3 I’m being unfaithfull to my other thousand artists of my admiration box.

Quick reply. Something you’ve always wanted to do, but have yet to.
Paint a huge wall in my country.
Something you would like to see in this world before dying.
I’m young, so I plan to see  A LOT before dying in hopefully a far future. I will be more prepared to answer this in my last days of life.

One overrated and one underrated thing in our daily life.
Socialmedia, free independence.

Thanks Milu for your time, to conclude, tell me something about your future,
tell me what would you like to achieve as goals, in five months, and in five years from now.
Complete economical stability, doesn’t sound bad at all. A sane work rhythm and a huge growth in technique and subject of painting.

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