Sandro speaks with his hands. Lino seems more thoughtful. But both exhibit the passion on the surface that they inherited from the teacher Antonio Pujia. Recognized for his sculpturescartoonist in his origins, teacher always because to create, transmitting and communicating art were impulses that were uncontrollable.
“He was a guy methodical and orderly. From Monday to Friday from 8 to 20 he worked in his workshop, whatever happened, and on Saturday morning he received visitors, whatever happened. produced all day because he was born to produce” recalls Lino.
Sandro agrees and adds: “My dad’s story today would be an example of entrepreneurship. He arrived from Italy at the age of 7 with nothing, not even speaking Spanish, and he always, irrepressibly, made his way. He already had his north from a very young age”.
While his father insisted that he be an accountant, Antonio found his mother’s complicity to secretly enroll in the Manuel Belgrano School of Fine Arts, and he never stopped studying and teaching.
He was a teacher in all the schools in which he studied. because he was convinced that “we are links in the long chain of knowledge and it is our responsibility to ensure that it does not break”.
He worked with techniques dating back to the ancient Greeks, and “he had enormous emotional coherence with himself and with others. That is why I find it interesting to find young people who study it and who immediately venerate it”, Lino is moved.
Replicas of the workEternal Spring” by Antonio Pujía were recently the statuettes of the National Classical Awards, recognition of great figures of music and culture whose ambassadors are Marta Argerich and Gustavo Santaolallawho
recalled an anecdote where they mixed Pujia, Mercedes Sosa, Leon Gieco, Milton Nascimento and, of course, himself in the master’s workshop. And where Santaolalla showed Mercedes Sosa the song Río de las Penas, which was later recorded in a live session. A tribute to the memory and Pujia’s work that will be exhibited shortly in a Buenos Aires museum
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