Bio
Virginia Gauna Torres (b.1970) is an architect graduated at the Architecture and Urbanism College at the University of Buenos Aires, Argentina. She has specialized in visual arts: photography and painting.
She studied photography with Ines Miguens and participated in her annual workshops and photographic practice field trips from 2016 till 2020. Her training continued at The Diego Ortiz Mugica School where she attended photographic technic courses and digital edition workshops in 2020 and 2021. She took part in Ana Sanchez Zinny’s contemporary photography workshop in 2022 and 2023. In 2025, she participated in a photography workshop at The Penumbra Foundation in New York, U.S.A., where she also attended gatherings and activities at the Moma Museum, The Bryant Park Public Library, The Morgan Library, J.P. Morgan N.Y., among others.
Since 2021 she has taken part of the photographic clinic workshop coordinated by Vivian Galban, where she has presented different projects involving contemporary photography.
Virginia started her training in plastic arts at Delfina Bourse’s clinical workshop. In this space, since 2012, she has attended a cycle of meetings with artists such as Eduardo Stupia, Agustina Nuñez, Mariano Benavente, Alberto Pasolini, Jorge Sarsale, among others.
STATMENT
Virginia Gauna Torres is an architect and visual artist. She has worked in architecture and urbanism journalism in the architecture supplement of Clarin newspaper.
Her photography revolves around abstraction, a resource that fully explores a constant dialogue between minimalistic representation and figurative conceptualization.
Through a meticulous and obsessive gaze, she investigates the relationships between light and architecture, nature and time, the main axes across her creative process.
She aims at visual synthesis as a form of narrative language, using the tension generated by the strong contrasts between light and shadow, lines and silhouettes, shapes and textures.
Her work is crossed by little gestures that attempt to transform the invisible into visible, the minimum into maximum. Within a contemporary context, she proposes a photographic deconstruction in order to establish a new narrative between the parts and the whole, rigorously securing this minimal, subtle action does not completely escape the reference origin.
From a conceptual point of view, her photography and painting are intimately related. In that sense, the research of material and support are coherent with a purely abstract identity. Within a monochromatic spectrum, she aims at enhancing the strengths of the materials’ textures in an intuitive way. Her work tries to achieve a balance between purer and more geometrical, almost architectonic shapes, and more organic ones, which evoque the morphological aspects of nature.