EVOCATION OF IDEAS

Each one of us has an experience in which we cannot be sure if it is a part of reality or not. These are vague remembrances that compromise memory’s fidelity and it is difficult for us to evoke them: thus we do not come close to them. There are images that have the capability of reactivating what rests intangible in one’s memory. Mona Lang’s work presents a series of scenarios that takes us through cruel battles between the desirable and the undesirable to this possible reality that we have lived. The humor content filled with tragedy is secured from a pendulum which oscillates between art and comic strips, thus it places us between what could be magic, juggling or punishments: it presents us with a series of events as if it were something that could be simply desired, unchained or executed.

Our western psyche has taken us to the limits of the absurd: this is what some of the characters proclaim with the apparently toying sarcasm embedded in each scene. From clothing to action, the theatrical scene that is represented is farther than simple assessment; there is narrowness between past and present. Furthermore, it makes us feel the easiness with which the main characters intervene, whiter heroes or villains, in an environment, which provokes emptiness and saturation, which encloses simplicity.

The technical aspects of the work go by unnoticed, absorbing events, trying to discover where am I or who could I be in this scene. Regardless of the number of characters, the feelings of solitude, emptiness and abandonment will prevail, filled with hours of reflection, which the artist knows how to savor and explore in a manner in which we can be the creators. If not of the work of art, at least of its ideas, which sometimes have been in our minds: but only she had what was needed to interpret them. The closeness between viewer and work is clearly undeniable. That is why we cannot forego the invitation of being their accomplice. Whether a play or reality, we will be trapped and have a compromise of finishing one way or the other, up to the limit of being responsible to what we are seeing and imagining. Mona believes that she is an honest painter with herself and provides us with her legacy- which ever this is- and this is where her courage lays, this is where her force is, implicit in the most naïve, without it, it could not be her, it would not result in a work which one can feel, can tell intuitively, and make it one’s own. Now she has a compromise with herself and with us to continue providing this formula of the suggested in which we can unleash the desire of ideas and finish them, as we want.