Self-portrait, metamorphosis in fragments, representing a body-sculpture to go beyond photography: subhuman, in pieces. Monica Piloni, before the hyper-realism of her existence, set with her forms between the sofa and the bedroom itself. Within four walls, between one capsule and another, her body waits for the next day: why would you want my soul in your bed?
Anthropophagic sculpture, the portrait of a woman dissecting the other. The naked sex, the hand that bolts the escape valve, the transparent muscles with their almost liquid veins. Who looks at herself? A woman organizes the body of an another whose same muscles belong to one of them. Then they are two pictures that are mirrored to manipulate the craving building up in the corners of a bedroom.
The words of Diógenes Moura, writer and curator of photography, tell the Monica Piloni’s “room”, a place where dolls, horses, ballerinas, contortionists and chantilly are drawn from their common places and displaced in antagonistic combinations that multiply the possibilities of new images and reflections. The near absence of structural supports provokes feelings of unbalance and even certain uneasiness from some perfectly shaped figures, but others aberrant.
The artwork also carries certain morbidity, mixed with slight clichs from the erotic iconography, including many symbols and a miscellany of styles carried by our subconsciousness. These styles and symbols are what we ultimately give back to the environment either in a concrete existence or abstract essence.