Still life / Style leaf
In this new project, two constants are kept my work, these are, on one hand, the investigation into the photographic medium, and on the other, the use of wool felt material that fleshes out the images. In this specific case, the work of translation of the photographic image to the felt by hand cutting, seeks to account for the loss of information of the reference image in a different way to the previously worked, so that, in this project is not a lack of focus which removes some of the information, but rather errors in the translation thereof, in high-contrast images.
In thematic terms, this project is part of a series of recent papers where the text as a central problem in the image is added, that, from its formal aspects-as he realizes his photographic origin through the use of object-book – and also from the thematic content that is addressed by using an excerpt from the chapter entitled Still life / Style leaf book the infraordinary leaf, the French writer Georges Perec. The presence of this story, which describes in detail all these objects on a desk, aims to become a new “picture” that allows reflection on extensive observation of infraordinary. In this sense, literary prominence of this text, can tackle what commonly passes unnoticed, that does not seem to have any relevance, but nevertheless it is a vital part of our relationship with the world around us.
Mónica Bengoa, Santiago
Mónica Bengoa Santiago, Chile 1969
Born in 1969 in Santiago, Chile, where she lives and works, Mónica Bengoa’s visual arts career has developed both in Chile and abroad, participating of numerous solo and group exhibitions, biennials and projects organized by local and international curators, as well as self- managed endeavors.
For the past fifteen years Mónica Bengoa’s artistic research has established a work process around the issue of the material expansion of everyday life using photography –understood as much in its concrete practice as in its conceptual extension– as the central matter of her work. She has concentrate her investigation in the transference of photographic images to different materialities and supports, having as a result large-scale murals, all of a labor intense production.
This investigation around photography has been based on a system of technical and material restrictions, where the optical exercise is transformed into the axis that articulates and regulates the coherence of the final project, meaning that it is based on the photographic structure of the original image. It is in this sense that she has established a system of restrictions for the use of color, in which the limited palettes of dyed thistles, color pencils or embroidery threads, have allowed her to use this procedure as an orthopedic system for the construction of images.
Her construction strategies include operations of transference of photographic images towards other materialities, including procedures related to displacements of drawing, painting and engraving, and the use of objects and text. The use of the photography is given not only to créate mechanical images from the coherence of its contained optical structure, but indeed in revealing the technical procedure of the process of work. One could say that it is an inverse relation for the use of optical instruments, since in this case the intention is not based on its power of attendance in the creation of images the nearest possible to reality, but indeed in revealing the construction process of her work..