"Each of us has a unique voice, a way of walking, breathing, postures and gestures that are our own. I try to paint in that way, not to do it as admired painters or as I did a few years ago because one is not the same person all his life. Also, becoming more conscious  of what interests me, in my loves, in my places and not in issues that seem to be a legacy, in a way that somehow guarantee us some approval from others, I try not to "do" thinking about pleasing but going deeper and without taking into account the time it takes for each painting, put in words it sounds very nice but that’s how it is, a subtle difference that does not mean that the paintings are better even if it makes them sincere."

Gabriel Sainz is a painter born in Buenos Aires, Argentina (1967). His childhood consisted of spending many hours on the terrace of the building where he lived then, drawing and seeing many unique domes, also playing between sculptures of different central squares of the city. Of artist parents, which led to an early relationship with art that later motivated his vocation. He had no formal education, rather self-taught. According to his mother, Gabriel Sainz draws and paints since he was two or three years old, motivated by her, who was a student of Fine Arts. Then in a somewhat chaotic way, but moved by the certainty of an interior call or rather a necessity, he went to some workshops and always worked steadily. His presence at the IUNA was brief due to a kind of complex with respect to the fact that he had no formal education, he abandoned it, before having spent a year studying. He had also been in good workshops, sold and participated in awards. Then he approached Antonio López and Golucho was rather a search for rethinking, not to settle for his work; a higher self-demand and of course, a dream fulfilled too. In his works, Sainz tends to capture an idea of criticism of reality, very prone to emotions and poetry, distorted by the world of dreams and the unreal. Bases of artistic movements such as romanticism and surrealism, distant worlds, in photographic images of septal tones, adopt the style of painting that characterizes this painter. Throughout Gabriel Sainz’s lifetime, his work has been exhibited in Buenos Aires, Tandil, Córdoba, United States, Spain and Switzerland.

Gabriel Sainz’s artwork depicts the juxtapositions of life at their best.  He is able to draw you in, tells you a story, and somehow leaves you wondering if what appears real is an illusion, or vice versa.  He provides you with an intensity of elements that no matter how different, are coherent enough to capture your attention, and more so, your senses.  His artwork leaves you with a taste of curiosity, of desire, of obsession.  And the more you become enthralled in each art piece, the more connected you feel to such contradictions. 

Q. Do you remember the first art you made? What was it and how old were you?  
 I paint since I have memory or rather before, according to my parents since I was 2 or 3 years. I used to go to the cinema as a child and try to retain the characters that I liked to draw at home later, sometimes I would watch the same movie several times to improve those same drawings.

Q. Why did you decide to become an artist/ painter?
 It is the only activity that is not work for me, the activity that I like to do the most, I did not want to ignore the call and then regret my whole life of not doing it.

Q. What have you had to sacrifice for this career?  
 Maybe the concept of sacrificing would be not doing what I do, but what I chose to do.

Q. What does your art aim to express?   
 While I paint, I try to translate into the language of painting, a scene, a feeling. That is the only intention.

Q. Who are your biggest influences? Are you inspired by the work of your peers or anyone else in particular?  
Life itself, the places where I lived, my family, travel. Also, movies, music, some poets and many painters from different times and contemporaries.

...I worked in the Cordillera as a technical draughtsman making the design of the route that was being built with the Bolson. Every day and in the four seasons I had to skirt three lakes; I was 21 years old and that encounter with nature connected me not with another world or with another region but with another planet. I met people who did not know what electricity was, who went on foot in the snow for miles, native animals that I crossed: all that experience changed my mind. That got into my painting when I decided to dedicate myself exclusively to her. I have that scar inside, I dream of that place, its air and its colors. I always think about going back.

Q. Is the artistic life lonely? What do you do to counteract it?
 It is lonely and that is a part that we, artists/ painters, usually like in this activity. In my case, I complement it by sharing workshops that I offer and carrying out collective activities but I also like the loneliness of painting hours.

Q. What does 'success' mean to you?
Do what I want to do and sustain that attitude over time.

Q. What’s the best piece of advice you’ve been given, and by who?  
 I remember several but I quote one that I do not forget: in the times I lived on the mountain in Patagonia and still did not live from painting, Remo Bianchedi told me that if I wanted to develop an artistic career I should live in the big city. So, we left the beautiful mountains and went to the capital in a combi full of our few belongings and our two cats and here we are.