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What is time?

What is time? Asked himself San Agustin and it was well explained in his Confessions. “If nobody ask me, I now – If I have to explain in to somebody who ask me, I don t Know” (Quid est tempus? Si memo a me quaerat, scio, si quarenti explicare, velim, necio).
Monica Miller has achieved trough non-verbal language to approach metaphorically temporary dimension as creative being. She has built and classified these plastic signs that can hint at a real time phenomenon which has brought about the most profound scientific, philosophical and theological reflections.

by Rosa Faccaro, Asociación Argentina e Internacional de Críticos de Arte

The Configuration of Time

The Configuration of Time Mónica Miller has made an experience within the of plastic investigation, about the meanig of subjectiv reality for the artitstic operador. Her work is based on the value of time. Time is a convetion. The periodical changes of day and night, of light an the approach of the sun during its ellipsis around the earth, and the cycles of the moon help to bring upon the warm bright sensarion of our planet. These phenomena do not only influence the grasping of temporality, but also the processes an cycles of nature: birth, development, death and transformation of all species.
The artist is involved in time. She is also time. A crisis, an unexpected change brings upon a split. Every human being goes back to the inner self to give meaning to this relationship between time-subject. Monica Miller has worked in this sense. She has worked very hard on her space and time codices. The investigation at her workshop has been silent and gradual. Only a few times has she shown the result of this process where her production involved much higher standards than the convetional dimensions of plastic work.
The idea grew together with the existential needs of the artist. She made configurations as codices which indicate the days, the months of the Gregorian year. This work of redesigning an abstract concept, where the projection of her perceptions lie in the relationship significance-significant, is the challenge of her present work. The experience of real space started with the two dimension painting. The color is some of her works was limited to a precise signaling. Most of these meanings come out through forms and structures, in groups and complex. The shaped organization may appear in sequences. Space is seen as something inhabitable, like pieces of volumes ready to be part of thr human surroundings. This is Mónica Miller s experience, which she has been showing during these last years in Buenos Aires and the United States. He work is included in private and public collections.

by Rosa Faccaro, Asociación Argentina e Internacional de Críticos de Arte

Away from the darkness, close to the light

On reflecting upon Monica Miller’s creative process, we must consider the plastic solutions introduced by the artist as a writing experience. The individuation process (self) is realized through the projection of her unconscious. This situation –in her particular case—shall give birth to a codex like writing.
Her works acquire a chromatic stature: ultramarine blues, cadmium yellows, vermillion reds. These codices possess the ability to assemble and disassemble like a constructive game based on combined propositions. The creation of a new state of imagining consciousness attained through methodic ludicrous work appears not far from a vital experience in which the artist weaves a woof where life and art are intricately entangled.
The problem of time as seen from the theological point of view in Saint Augustine’s Confessions is expressed through a temporal system created in accordance with her imaginarium.
Perfectly fitting light wood plates cut out in an organic fashion, relate these expressive units for the making of a personal calendar. The month, the weeks, the days are represented with a certain complexity and agglutination.
It is from these codices, (syntagms of an iconic text), that Monica Miller has articulated a subjective construction. The shapes are inscribed in a wall-like- space. At times they acquire the three-dimensional body of an object.
This spatial experience continues in the present trend with a deconstruction that follows a different sequential order.
The artist frees her shapes scattering them. The units appear in an infinite, virtual space without boundaries, to make up an open sign constellation. This energetic tension writing is open to a new circularity, a new spatial rhythm, navigating floating units in hidden synchrony with a universalized rhythm.
In a world in which the scream of hopelessness is at the tip of the tongue, Monica Miller has elaborated a spatial constellation in a new state of consciousness, less tied to contingencies, but born from them.
This game could have emerged from the Magister meeting in the utopian city of Castalia. Such spiritual experience leaves the earthly dimension of the known to launch itself over a frontier.
Man has conquered cosmic sidereal silence. Once again art can reach the same coordinates. We can see in these last aerial Monica Miller’s creations, the utopian construction of a new universe model.

by Rosa Faccaro, Asociación Argentina e Internacional de Críticos de Arte