Autonomy and Transformation, by Mônica Lóss
Just as fabrics are used to wrap the body, in the artistic production of Mônica Loss they are explored to embrace representations of natural elements, the female universe or daily constructions. Whether with delicate structures or those that seem eccentric to look at, the artist's works offer a constant invitation to proximity and coziness, creating spaces of refuge 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 of making, as well as the presence of seams and textile materials. These materials are 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 the opacity 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 chance that the name of this work is in the feminine: renewal and independence are very common aspects in this universe. In Columns, the structure woven with threads refers to a vertebral skeleton, filled with unions and delicate colors that 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 Loss, 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 seclusion, 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 Loss 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.