Monica Mura starts from the body and the multiple variations through which it acquires meaning, whether in pose, in dress, in the way the sex is covered, or in the mirror, which also reflects the image each person produces. Monica observes the modes of representing the body, that material, to enter a new rite of passage, in the construction of an open and evolving model, where the act of looking becomes endless, like desire.
Monica Mura draws on the memory of herself that emerges from small family photographs, from free animals, from an imaginary of femininity and storytelling which she transforms into an artefact, into an object that is also the trace of her action as she changes the scale and arrangement of the original object, such as the golden stitching on a canvas or the bustle of bells in motion as one crosses the unknown of a space whose boundary is the notation of the exchange between the author’s face and her own.
Monica Mura makes art politically by intervening in each garment to recode it and by presenting the proposal of expressive freedom. She makes art politically when she invites us to look with our skin, with touch, with hearing, with our own album of experiences and emotions. She does this by playing with words and extending the perceptual ambiguity of the common phrase “…who do you come from being?”, which in our culture leads us somewhere, perhaps to a resilient home and towards the disappearance of gender.
Monica Mura is, in herself, a body in transit, an object moving towards other people, a piece that needs to interlock with other pieces and with spectators who, alongside her, are willing to be part of the work. Immense and diverse, each gesture, each installation, each trace, each toc-toc shapes the thousand springs that animate her artistic work, from Sardinia to Galicia.