Cristina Ghetti was born in Buenos Aires, Argentina. Currently lives and works in Valencia, Spain. She is a renowned Argentinean artist whose work is mainly focused on the practice of painting, although the artist is interested in materialising works in various formats, investigating alternative ways of producing and disseminating her work, promoting public interaction and a multi-sensorial approach to art. This has led her to experiment with the moving image in video installations, to dabble in installation and performance. She is part of a performance practice duo No(Dos)3 that relates geometry with the body, spatial drifts, sound and new media.

Cristina Ghetti is interested in a reading of concrete art from a feminist and Latin American perspective. She firmly believes that the richness of these movements in Latin America, their particular developments, their permanence, and above all the indispensable contribution of women artists must be fully incorporated into the discourse of contemporary art in order to offer a richer and more plural dimension of this trend. In her work she allows a free transit between media, making connections between ideas and forms belonging to different periods, traditions and categories within abstract art. Her work has been included in numerous international exhibitions, in museums, institutions and galleries.

She has a degree in Visual Arts from the Universidad Politécnica de Valencia and a Master in Visual Arts and Multimedia from the same University. She is currently developing her Phd "Miradas tangenciales", a project that reflects on the role played by the pioneers of concrete art in Latin America in dialogue with her own work. The contrast between the simplicity of the forms applied and the complexity of the results is one of the aims of her work. Unlike classical abstraction, this simplicity does not necessarily signify a search for clarity and order, but rather is used to reveal a fundamental chaos and disturbance present in reality. In the formats of painting on canvas, the canvas is not considered as a cohesive and autonomous unit, but rather as a fragment, a sample of a much larger and unfathomable pattern.