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Andábamos sin buscarnos
pero sabiendo que andábamos
para encontrarnos.
 Julio Cortázar / “Rayuela.”  Capítulo II

In front of an empty and superficial reality, without clearness of concepts and with equivocal and ephemeral values, Mónica Goldstein’s work augur us a state of “anamnesis” for the search of a memory we do not know but that it is.
 The Thunder. In the Thunder’s Time we wake up and we are touched, in our immobile present.
 Will we recover the lost, the forgotten?
 Will we recover through the images the energy that gave birth to the beginning?
 Thunder. Stubborn thunders. Loud signal of the Word. The word as our prison.
The Word of Mónica overcomes the consciousness’ limits, we listen to the silence that shouts, the deaf sound of the voice.
 The arbitrary word that freely superimposes itself onto the word, one upon the other, creating a palimpsest that without canceling, without erasing the already spoken, freely arranges itself in a space and an infinite and circular time. 
 The infinite immensity of each sign’s sense.
 Annunciation’s Time.
 Mónica creates the aesthetically poetic word with an own code but which we all know. It is a word that arises from the magic point of the color in an ignored-desired space.
 In each word comes up the doubt, the doubt that brings us near to the unbearable certainty of life and death.
 Jung gives us a hand and says: “ the dreams are not personal acquisitions, but remains of a former collective psyche”. (1) 
 Mónica’s images rest in our memory “like an animating foundation of supersensorial nature existing in every human being”. (2) Those archetypes, archaic forms a priori given, are the ones we recognize when we see them.
 We remember the unknown.
 Mónica’s work is not to be hanged up, but to be lived. It seeks each of us as the only capable of coming in and out swirling ideas, smelling the wind, looking at the sound, shedding a tear, touching through the glance, we tie to her Vortex creator from where expands the energy that finally meets itself in one point. The lyric vorticism of her drawing and her color spreads around us papers in the wind, that we take knowing beforehand they are ours.
 Everything exists already. With her art Mónica succeeds in pulling up from her deepest sky what absence presents to us.
  In her studio appears the paper’s forest. She loves it, cherishes it, embraces it, transforms it, destroys it and from the soul removes the essence from it, in the manner that Michelangelo worked his marble. She knows the textures, she observes them, manipulates them until determining what they are and what they ought to be.
 They never die because they speak about the eterne.
 It only remains to propose you this aesthetic experience. Let it be.
(1) Jung, C.G. Psicología y Símbolo del Arquetipo. Barcelona. Ed. Paidós. 1989. P 208 
(2) Jung, C.G. Arquetipos e Inconsciente Colectivo. Buenos Aires. Ed. Paidós. 1984. Pág. 10                           

Lic. Salvina Sollima de Tamborini / Lic. en Historia del Arte / 1998