More than a resumption of the values of figurative art, derived from the traditions of painting and sculpture, what we have now is an artistic practice connected to the same principles that guide the vanguards of our society in their questioning of the traditional notions of gender and sexuality.
The search for meanings in a figurative art such as modern artist‘s, Monica Piloni, makes us believe that she hides something to be deciphered as if a riddle involved the very figure of the artist since many of her sculptures were made from a self-portrait. The tendency to find hypotheses of readings surrounding her figure is tempting, just as it would be to bring her modern art closer to the questions of feminist affirmation pulsating in our day.
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But artists, however, never allow themselves to be captured so easily. In representations of bodies with surgical and clean amputations, one should not expect an easy clue to the reading of their set. There are a certain silence and tension in the figurative art pieces that at the same time suggest attraction and repulsion for what lies ahead.
The body, its gestures, needs, and desires all represented in sculpture art and have become a key element in the most pressing social and political issues of our time, and this is reflected in the imagery of contemporary artists. Interest in figuration can also be a consequence of the dominant presence of the body on social platforms, photography, film, performance, and activism. This is all noticeable in Piloni’s figurative art.