The art of Mónika Üveges is defined by the crossing of media. The merging of painting and sculpture results in objects that draw in their formal world from both designer objects and posthuman theories. The leathery corpses are sensuously peeled off their chrome frames, evoking the space age, as if the different pieces are layered in dramatic scenes, only to reveal the skeleton that sustains them as they decay, simultaneously questioning the anatomy of the human body and the autonomy of art.
For just as the sanctity of the body becomes uncertain with technological and informatics progress, as it is cyborgically transformed by medical modulations, if we think of the implantation of various metals and prostheses, so our concept of art is in a new phase of its own evolution. Glass’s works are not afraid to cross a taboo, insofar as her femininely re-aestheticised objects are capable of fulfilling a function with their independent light – that is, they are not uninterested in pleasing. The invisible boundary between art object and furniture is blurred by the very fact that the objects are constructed from reworked elements of thonet chairs and rocking chairs alongside willow and driftwood.