Benedetta Monti is an Italian artist who lives and works in Rome. She holds a BA in Fine Art from the Urbino Academy of Fine Arts and a degree in Marketing and Management from Napier, Milano, with a thesis on mockumentary.
Monti started to draw from an early age; her most concrete approach to art and painting dates back to 2016, which began her artistic research. Over the years, she has experimented with different modes of expression – from performance to installation and video art – to return to pictorial practise eventually.
Benedetta is interested in body language, the psychology of the masses and sales, which led her to reflect extensively on the fickleness of thought and the critical capacity of people, with a focus on the art world: "How many times does a seller change history of the product according to the type of buyer he has in front of him? How many times a critic changes the meaning of a work to make it more attractive?" - the trust given to narratives is often fictitious.
Se ti Chini Forse mi Vedrai is the legacy of a suggestion that she had developed in 2017 after looking at the etchings of Max Klinger in the series called The Glove - dream-like and symbolic: "I tried to investigate, through a different medium, a painting, the many different allusions of meaning, which have led Max Klinger up to the dadaists and artists of today; for my contemporaries to fall in love with the glove as a symbol that shows different evocations". After years of experimentation, the artist's attention turned to unusual details such as the mischievous profile, a shadow without clear boundaries or the carapace. The glove element is linked to different and opposite symbologies – in the past related to the identification of social class or amorous rituals, while in contemporary times, it refers more to the dimension of domestic and gender stereotypes.
"Glove is a plastic sign, open to the personal interpretation of a form, discounting it from its original combination with the glove as the object. The floor creates a surreal and suspended perspective; the human figure is not contemplated and almost does not seem necessary, although the object may make us wonder if something has just happened, or it happened a long time ago or will happen in the future. Despite the range of action the trajectories of the floor want to expand, they collide with the limit of the canvas, filling the atmosphere that surrounds the viewer."
Text by Laura Pieri