This body of work comprises intervened monoprints and they are very much work from the pandemia.
Renata started to make them during the first lockdown, as she struggled-lie many artists- with homeschooling of two young children, household chores, losing income through lockdown restrictions that made impossible for her to teach... on top of her trying to carry on working on her art...
The sessions in the studio became immediately less frequent, and only possible during the evenings.
Renata switched her oils and her usually slow and intricate paintings, from the immediacy of gel plates monoprints. Using acrylic paint, stencils, texturing combs (for cakes icing) gel plates are a fast, strange, hit and miss technique where Renata can built a sizeable bulk of prep work.
This is not a technique she approaches to get finished works. Renata could build up a sizeable amount of works she re-work back at her home, on her kitchen table. During this last stage of transformation Renata incorporated the acrylic ink, coloured pencils and back in the studio, the spray paint.
The imaginary of this prolific body of work comes from her other , ongoing series: monster-like plants rom her tropical urban jungle, deckchairs and other outdoor furniture concrete blocks from urban and poolsides... These landscapes, constructed over unplanned/uncontrolled textured backgrounds, are made by positioning the figurative elements (stencils). Narrative stays static, as with her other work, where plants and furniture stand symbolically by people.