The poetics of Monica Camaggi do not constitute an act of creation because the work of art grows out of and is germinated in nature. To all intents and purposes, it is a manifestation of life, rather than the result of a metaphysical will striving to bend nature to the logic of persistence. The relationship that develops between the work of art and nature therefore assumes a dynamic equilibrium, in which the artist, far from possessing supernatural gifts of clairvoyance, merely acts as a mediator. The artist possesses the tools to give voice to a dialogue that ties together objects from subterranean memories that would otherwise have remained unexpressed.
The artist’s preferred techniques (rubbings, emulsions, casts) do not detract from the heart of the artwork, which is what brings the materials to life, but rather they retain a trace of it, an imprint. Ultimately then, as with the theories of Georges Didi-Huberman, it can be said that in Camaggi’s art, matrix and imprint overlap until they become indistinguishable. In this succession of ascending and descending paths, in which the material becomes art and the art is immersed in the material, the artist strives to capture the moment in which transformation occurs, to deliver to the viewer an unfinished product, suspended in a hybrid dimension and almost exposed beneath the violence of the gaze.