Autonomy and transformation - Paula Coraline - Diacrítico
Just as fabrics are used to wrap the body, in theartistic production of Mônica Lóss they are explored to embrace representationsof natural elements, the female universe or daily constructions. Whether withdelicate structures or those that seem eccentric to look at, the artist's worksoffer a constant invitation to proximity and coziness, creating spaces ofrefuge and breathing.
In an extensive and meticulous body of work,there are emblematic works, which clearly summarize the artist's research. Thisis the case of “Enredos”, an artist's book delicately constructed with seams,fabrics and tracing paper. There are the presence of elements that emergestrongly in other works of the artist, such as gestures, the body, the act ofmaking, as well as the presence of seams and textile materials. These materialsare used to sew a narrative that enhances spaces, crossings and reminiscences.In addition, time appears as an important element for Mônica's artisticprocesses, since the book was thought and built during five years
The organic forms of the works evoke naturalelements, as in “Weird Things Grow Here”; in this work, the earthy colors andsmall details in yellow recall the sensation of moist and fertile lands,conducive to the development of small creatures that go unnoticed. The artist'sversatility in exploring the natural state of things is also reflected in “Deshechos”,in which the occasional break of a glass becomes an object of photographicresearch, exploring the beauty of the glass's transparency in contrast to theopacity of the wine. Both works propose new perspectives and considerations onsituations and materials.
Each work by Mônica Lóss carries a sense of autonomy and a strongcapacity for transformation. The “Nomad[as]” series is a great example ofthese characteristics, since the parts take different forms with each newassembly. It’s not by chancethat the name of this work is in the feminine: renewal and independence arevery common aspects in this universe. In “Columns”, the structure woven withthreads refers to a vertebral skeleton, filled with unions and delicate colorsthat gently suggest a connection with the female reproductive system. Thesensation provided is that of a space of comfort and refuge, a common theme inthe artist's research.
Research on gestures has become increasingly present in the recenttrajectory of Mônica Lóss, emerging in works that are guided by this action. In“The Fear of Being Afraid”, the artist positions herself in front of the camerato perform a photo performance, recording images that suggest seclusion,insecurity or refusal. It could not be otherwise, since this work was conceivedduring the first moment of social isolation during the Covid-19 pandemic, whenhumanity was forced to face an abyss.
When considering the production of Mônica Lóss as a body of work, it’snoted that it has the common unfinished nature of living beings, capable ofproviding the necessary space for expansion and growth. Changeable in itssubtlety, it invites you to look back at what delicately escapes attention,whether in physical or emotional terms.