De la Sota’s subjects are personal reflections of his surroundings in which there is a united thread that deals with the past, his conceptual notions of collective lost and journalist qualities of recording what is happening all of which reflects a present state of chaos and disintegration. De la Sota exemplifies the cosmopolitan character that has characterized the Argentinean artistic mentality where the production of work is a process of self examination in a climate of equilibrium between the “national”, reflected on De la Sota’s engagée motivations of his artwork, and the international notions attached to the Internet and the avant-garde implication of digital arts. Argentina and Brazil are without a doubt the most important countries in Latin America in terms of vanguardismo, creativity and international projection. How open or closed a society is to outside influence has profound cultural and social effects. Aside from the negative economic condition for the production of art, both countries have a history of a successful balance between the influences from abroad, dissemination and discussion of the arts (in the case of Argentina enhanced by the high level of literacy), and the vitality of the native artistic developments. The work of De la Sota is significant because it is sensitive to the artistic and societal conditions of change.

References:
Herbert W. Franke comments in his article entitle, the New Visual Language: The Influence of Computer Graphics on Art and Society (Digital Arts Museum).
Sullivan, Edward J. Latin American Art in the Twentieth Century. Phaidon Press, 1996.

Written by: Oliver Delgado