Old toys treasure memories from childhood and the ways in which we learned the rules, the roles and the idea of happiness of the society in which we live. Mónica Miller starts playing again, and those scenarios, apparently innocent, are loaded with multiple meanings.
The tools of photography let her cross this world, shred it, recompose it and assemble, with the same elements, a narration of different inflections. As some kind of universal principle, the artist presents the home and the couple as synthetic and absolute ideograms, isolating the objects on a white background. Then, the little house opens and, in an opposite way from that minimal and pure image, we are invaded by an abundance of furniture and accumulated objects. People were displaced by things. With humor, Mónica Miller uses her hands and makes impossible arrangements, absurd as the promises of welfare of the consumer society.
Light and its extremes play the leading role in the third movement. The interior part is calm with its hearth lighted, but the blind brightness that comes from outside turns it uncertain… ¿What is out there? ¿Where does the mysterious shadow that crosses the room come from? From the margin, a child spies, and maybe he has many of the answers that as an adult he will forget.
Lic. Valeria González, Universidad de Buenos Aires
Alice in the Cities
"The last airplane flew through the sky,
at that lonely airport
he and she chose each other and began the journey."
Alice in the Cities by Wim Wenders
The artwork of Mónica Miller studies childhood and its forms of protection and loneliness.
Her work crosses universes of games, dreams and fantasies during her creative process.
As in fairy tales, dollhouses open their doors to the thrilling paradises of imagination.
We fall into a dream state and, in the same way as Alice writings, these little houses are also a strange maze of the mystery.
Photographs, scale models and videos let the author rebuild those ideal and playful spaces perfectly.
With references to Liliana Porter’s work, constructions rise as territories where toys come to life.
Within a tiny urban system, the artist recreates symbolic buildings to reconstruct an itinerary of architectural memories, where the city is reduced to a child scale. The perspective of the pieces makes us see ourselves as children again: the magical thinking commands our mind.
When we are children, the world reveals itself with a deep intensity; all our experiences are so important that they will mark our way to see reality for life.
These beautiful and delicate pieces are dedicated to this state of childhood, those toys that were with us through fears, loneliness and magical states.
These are pieces that make the audience open to their deepest memories, their perceptions, their logic, the vulnerability and the strength that childhood created in our hearts.
These are images that remind us the creative force of playing.