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Every object has a human component, as it gives answer to a necessity, and by doing so it completes us. I am interested in those objects that, either due to their physical attributes, either through their use, relate to us in an intimate way; such objects help me to materialise processes belonging to the subject. The utilitarian character of the original object defines a certain connection with the body; when the object is manipulated its functionality is perverted, but not eliminated: a vague notion of use prevails, the body is involved but its role is passive. The resulting objects are instruments that may act as sensors, or as markers of psychical states around the question of the construction and expression of the individual.

Many of my objects are wearable over the body; this possibility is translated into photographic works that, beyond the simple registry of their use, try to investigate the direct relation that arouses between body and object. A relation that is placed there where the borders between different terms melt away: the boundary between artificial and organic, and between essential and accessory, in objects that may seem necessary as prosthesis but at the same time superficial as an adornment; the body in tension between beauty and imperfection, health and decay, sensuality and pain, self-protection and constriction, exposure and hiding. Duality is a constant goal in my work: I try to position myself in the limit between definitions, generate forms that would belong to the area of the undetermined, the impure. That border is to me the space of searching, of creation. I think that ambiguity is able to evidence the, in my opinion, unavoidable subjectivity of the glance.

While in the photographic works my own body appears as only subject, in my drawings and paintings other feminine figures are represented, and therefore the notion of identity is handled in a more extensive manner. The character of the figures is defined through the clothes and the objects that they wear, and also by means of the gestures and postures that they adopt. By playing with these variables I try to sketch possible definitions of the feminine individuality, dealing with such opposite notions as sensuality, innocence, or violence, while depicting women who are in a life stadium in which identity is earnestly fighting to manifest itself, an identity clearly in process, on the edge and about to cross over into a new state, tending constantly to the undefined, to the limit. 

Mónica de Miguel Rubio