Text by Rosa Queralt
She finds a kind of dialogue and game located in the history of painting
whether in medieval art with the classic theme of the Madonna and Child or in op art. In her case, it is not the implicit operation of those paraphrases that analyze and reinterpret, leading to a personal and current language, references to the past, but free versions, exempt from underlining, substitutions or comparisons. Their proposals are born from readings and revisions of certain iconographies and movements, or simply memories that arise unconsciously, and their goal is more playful and ironic than calculated.
Although the diversity of her work might be mislead, there are no significant differences in the repeated changes of register when the artist moves from one subject to another to discover new means of materialization. While it is true that the course of time has led to a progression in both reflective and technical understanding, her stylistic evolution should not be seen as voluntary or as programmed, her versatility is born of the autonomy that she gives to each particular work in accordance with the circumstances surrounding it and the desire to connect it to a practice exercised with absolute freedom and passion. Idoia Montón loves this old craft and tradition, which has survived as a form of expression of the human condition through all kinds of cultural fluctuations. Is there a process where feeling and judgment, sensitivity and knowledge, manual activity and intellectual decision are so unified?