“Mesmerizingly slow, soliciting prolonged immobility in enthralled gazing, calling for acute attention to subtle changes in the folds of cloth or movements of the draped body, in performance or filmed, provoking intense engagement with the choreography of poignant gestures of elegant hands winding and unwinding, rising and falling, with its own sonic environment that is neither music nor language, Monika Weiss’ works have long solicited our attention to historical events: forgotten, remembered, not yet mourned, or immemorial, so that we experience their condition affectively through a musically choreographed image of time: time is both her frame and medium.” - Griselda Pollock

“For Weiss, drawing embodies and expresses the passage of time, repetition, suggestion, and repercussion; while also celebrating the facture of media (the possibilities that physical materials allow). In this way, the artist’s practice has its basis in traditional methods, where drawing ‘gives credibility to all other media imposed.’ Unlike other elements of her work — digital images, words, music and sound — drawing, through asserting its authority, implies permanence, but this too can dissipate and become a vestige where the mark becomes a trace. Weiss’ drawing oscillates between proposal and presence, the allusive and the tangible where it competes (not in a precocious way) to establish its unassailable position in the consciousness mediated by the artist.” - Mark McDonald

film/sound excerpt above: Monika Weiss, Koiman II (Years Without Summers) - 24 Nocturnes, 2017-2022