Piloni was born in 1978 in Curitiba, PR, Brazil. Lives and works in São Paulo, Brazil.
Monica Piloni uses figurative shapes to discuss issues such as sexuality/repression and appearance/alienation, creating a new version of characters/objects commonly used in art history or in the advertisement market, and that have become symbols of the banal and classic. Dolls, horses, ballerinas, contortionists, and chantilly are drawn from their common places and displaced in antagonistic combinations that multiply the possibilities of new images and reflections.
Using resin, plastic, synthetic hair and a variety of other media, Monica Piloni creates sculptures that mimic the tactile qualities of flesh. Some of her works are doll-like while others appear convincingly human, but in each sculpture she distorts and mutates the body. Her recent work Opium (pictured above), for instance, presents a variety of wall-mounted, abstract forms. Together, they form the shapes of melted breasts, arms and mouths, evoking the ways surrealist sculptors like Louise Bourgeois employed biomorphic shapes to explore desire. Read more on Hi-Fructose.
Brazilian artist Monica Piloni distorts the human and animal body through dismemberment, the omission or multiplication of elements, which not only generate an unsettling and unnatural form, but also enrich the work with an often morbid appearance, combined with erotic cliches, adding a new meaning with emphasis on identity, sexuality, the limits and aspects that lead to alienation. View more.