The antagonism of the instant flows with the exploratory narrative of the duality of life in the artwork of Mónica Mindelis, supported by reflective and literary texts by different authors, and in particular, of Gaston Bachelard.
There is a dualistic relationship between body and soul, and consequently the existence as a collective that leads us to Goethe's reflection on "the principle of life, which contains the possibilities of ascending from the simple beginnings of phenomena to the infinite and diverse multiplicity". It is through a "cradle", as a symbol of retreat of the human being in which the emotions debate between the state of exhibition and/or omission, that Mónica positions us at the beginning of this series, NÃO ACORDES O DRAGÃO.
A raffia mesh sewn by the artist, in a long and ritualistic process of religious ceremonial, in which the drawing resulting from the intuitive passage of the mesh to the paper, brings Mónica Mindelis closer to the metaphorical form of Fire. The complementary and symbolic colours of an entity, associated with good and evil, places us in the experience of defining Beauty, without meanings or assimilations to pre-established principles, in which fire carries the duality of opposites that mark the beginning and the end, and where the end may become a new beginning (Velum). The correlation that the formal transformation of matter is produced by the interference of fire, leading to an ascension, relating verticality to the dynamism of the spirit movement, as a vital impulse of attitude, presence and trajectory to be taken.
"The purified, purifying flame clears the dreamer twice: through the eyes and through the soul".