Texts

About the artist


O Medo de sentir medo - Stephanie Wruck - Coletivo Amarelo

“O Medo de Sentir Medo” da artista brasileira Mônica Lóss é uma série de 29 fotografias que dialoga com o absurdo. A artista costurou pedras de jaspe vermelhas em luvas pretas que foram encontradas em um brechó. A partir daí, ela se fotografou enquanto gesticulava suas mãos em frente à câmera. O experimento serviu para refletir sobre o momento atual: a vulnerabilidade trazida pela pandemia, o absurdo que invadiu a vida cotidiana e o impacto na saúde mental.

A tensão que existe entre o ato de “se esconder” versus “se mostrar” é um paradoxo presente nessa obra. Em espaços virtuais, como pode se ressignificar a auto-exposição em frente às câmeras? O corpo atua como um escudo transparente, que ao mesmo tempo que protege, escancara as próprias fragilidades. A luva, sintetiza essa ideia, como uma proteção imaginária, que mais expõe do que esconde. Em meio a uma pandemia global, onde máscaras e luvas são instrumentos de defesa contra um vírus invisível, as luvas de Mônica expõem o nosso medo daquilo que não é facilmente identificável. As imagens atraem o espectador, mas provocam um estranhamento: há um estímulo para olhar as belezas das imagens, mas também repulsa.

"O medo de sentir medo" é também uma questão de saúde mental e um reflexo dos desequilíbrios neuroquímicos que a própria artista experienciou no passado. Para Mônica, ataques do pânico e crise de ansiedade foram episódios paralisantes, onde a sensação de medo intenso a incapacitava.

Albert Camus, autor de “O Estrangeiro” é o principal pensador da Filosofia do Absurdismo, na qual os conflitos internos na busca pelo real sentido da vida são questionados e a própria ausência de sentidos surge como conclusão. Diferente do existencialismo de Nietzsche, Camus oferece um olhar mais otimista, ao defender que é preciso aceitar o absurdo em nossas vidas e triunfar sobre ele, sem render-se ao desespero. Para Camus, a aceitação do absurdo é o que conduz a uma vida repleta de liberdade. Interessante dizer que esse era o autor lido por Mônica no momento de execução da série.

É possível percorrer processos criativos sem passar por rotas absurdas?


Autonomy and transformation - Paula Coraline - Diacrítico

(Portuguese Version)

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. This is the case of “Enredos”, an artist's book delicately constructed with seams, fabrics and tracing paper. There are the presence of elements that emerge strongly 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 artistic processes, since the book was thought and built during five years

The organic forms of the works evoke natural elements, as in “Weird Things Grow Here”; in this work, the earthy colors and small details in yellow recall the sensation of moist and fertile lands, conducive to the development of small creatures that go unnoticed. The artist's versatility in exploring the natural state of things is also reflected in “Deshechos”,in which the occasional break of a glass becomes an object of photographic research, exploring the beauty of the glass's transparency in contrast to theopacity of the wine. Both works propose new perspectives and considerations on situations and materials.

Each work by Mônica Lóss carries a sense of autonomy and a strong capacity for transformation. The “Nomad[as]” series is a great example of these characteristics, since the parts take different forms with each new assembly. 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. The sensation provided is that of a space of comfort and refuge, a common theme in the artist's research.

Research on gestures has become increasingly present in the recent trajectory 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 camera to perform a photo performance, recording images that suggest reclusion, insecurity or refusal. It could not be otherwise, since this work was conceived during the first moment of social isolation during the Covid-19 pandemic, when humanity was forced to face an abyss.

When considering the production of Mônica Lóss as a body of work, it’s noted that it has the common unfinished nature of living beings, capable of providing the necessary space for expansion and growth. Changeable in its subtlety, it invites you to look back at what delicately escapes attention, whether in physical or emotional terms.

Publications

From the artist

_Tramas abaixo dobom/mau tempo. REVISTA TÊMPERA. Vol.03/ Nº 9.ISSN 2675 0295 (impresso) / 2674-5909 (online). Revista Têmpera, v. 03, p. 194,2021.

_Comoapresentar o tempo e o [co]existir na atualidade? - Revista com[por] v.1/ 2020– UDESC, Brasil. (Link)

_CatálogoInternacional Coletivo Meio Cura – Edição livro multiformato. Flotar Programa,Pac, Harmonipan Editions. México

_PROJETO2020 - 4ª Convocatória. Publicação e Exposição on-line. UFSM/PPGART. SantaMaria, RS, Brasil

Do galpão ao salão: o pala gaúcho como referencial na criação de design têxtil

Resume

The present research aims at developing studies of textile patterns to be used in clothing, using hand weaving in a weaver’s loon and referring to the Gaucho’s poncho, largely used in Rio Grande do Sul State since the ancestry until today. The research focus at a qualitative approachand uses as data collecting instruments and document analysis: the field research and the observation, combined to a project methodology which gives support to the creation in design. Beginning from the Gaucho’s poncho, a traditional vesture of the Gaucho, we found out that it is possible to create patterns to be used in the contemporary clothing, keeping their original characteristics specially in what refers to the materials utilized in their making – fleece – and, at the same time propose alternatives by using different materials like industrialized textile yarns and threads.  

Complete text in portuguese 

Books

Palavras e Imagens

Deu a Louca nas letras

Press

Brooklyn’s Ground Floor Gallery Spotlights a Diverse Range of Emerging Artists. Introspective Magazine.  2020  

Interviews

Using Format