The contemporary Brasilian artist Monica Piloni works mainly in sculpture and with a focus on the human figure. The bodies that she creates appear distorted and strange, like amorphous creatures. Since 2004 she works with the mirror effect, the construction strategy that she applies to the bodies to create another dimension in the perception of the human figure.
At first, Monica Piloni used the repetitive mirror effect on a standing female figure. She cut the fiberglass dummy of a human body into various parts and then rebuild them. But the second time she made molds directly on her body, as a self-portrait. And this experience gave her much more freedom in creation because the anatomy model was always available for experiments. From there, the results of her sculptures became more complex and sophisticated. And even though Monica Piloni’s self-portrait at first appeared for convenience, over time it gained greater relevance and protagonism.
Monica Piloni’s portraits are made of ‘the most available and economically viable living model’ — her. However, over time women started identifying and projecting themselves in Piloni’s sculptures. So symbolically her sculptures became a collective portrait of all women. And she realized that all this time she tried expressing a collective report and that art is, in fact, the great promoter of social change.
In her work, Monica Piloni speaks against the attempt of trying to fit women into any unrealistic standard. Be it behavioral or aesthetic standards, imposed by the patriarchal society, they only cause psychological and physical disorders. The artist also refers with her work to the influence of technology on the image of the real versus virtual body. For example, how because of cyberactivism bodies outside the dominant aesthetic standards are praised in cyberspace.