2014 - Now (selected works)
Self- Portrait
I conceive self-portraiture as a strategy of thought that uses introspection to confront hierarchies and structures of power, understanding it as a form of resistance. It is not an exercise in self-exposure, but a critical operation that employs my own body and lived experience as a site of enunciation from which to interrogate broader social, affective, and political structures.
I work through long-term processes in which accumulation and repetition function as layers that densify meaning and complicate the image. My practice addresses romantic love, identity, and metafotography, interrogating time, solitude, and the structures that organize the field of art.
Selfie from a Crisis Havana 2014
These photographs were made during a prolonged period of waiting, shaped by visa application processes and the inability to freely determine movement. After having lived outside of Cuba for two years, the desire to leave again was driven more by urgency than by a defined plan.
They are among the first images I made with a camera. At the time, my practice was rooted in theater and acting, but these photographs—taken without the intention of being shown—first activated the need to think of the image as a space to work through emotional experience directly. This gesture marked the beginning of a shift toward photography as my central practice.
Darling, I wait for you home
2015 - 2016
I made these images in Mexico, months after immigrating. I was facing the forms of grief that displacement brings: distance from my family and friends, and the impossibility of finding work as an actress. It was the beginning of a harsh and solitary period, marked by reflection and survival, that proved decisive for my personal growth, my sense of identity, and my resolve to continue.
My happy face on, Mexico, 2017
Performance documentation in which I wear my husband’s clothing and a mask of my own smiling face, activating a tension between identity, role, and representation.
Still from video, Havana, 2016
Floating Under Camouflage, Mexico, 2016
Floating Under Camouflage operates as a commentary on that state. I had already changed, though it was not yet visible. I was floating out of sync, navigating the gap between how I was perceived and how I experienced myself, drifting without a fixed form, Floating Under Camouflagetoward another direction.
The Woman Who Does Not Fit In 2017–2022
Produced across seven cities, this series operates as a symbolic exercise in irreverence. Through physical resistance to the prescribed use of objects and symbolic resistance to normative frameworks, the work activates a gesture of opposition—embracing otherness and inhabiting misalignment within socially established logics.
Self Portrait on Time / Projector Series 2020
This series emerged during the pandemic and lockdown. Using a projector, I rewrote myself onto my own past photographs as a way of revisiting them—entering images that hold previously lived realities and preserved moments—and exercising a critical gaze from the future, now the present, toward the Moník who appears there.
The work becomes a celebration of a threshold: a space from which to enter into dialogue with myself across time.
Empty Spaces 2014–Now
Before making a self-portrait, I photograph the space in order to define the frame of the action I intend to perform. These images belong to that preparatory moment.
Self-portraits are almost always produced without spectators; when I capture the empty space, the action is already implicit, held mentally as a latent possibility. Revisiting these archives, I found the images deeply unsettling: although the spaces are uninhabited, I could recognize myself within them.
Sequence from the back of the seat to becoming a tree, Mexico 2023