Mónica is, potentially, anything. That is why her portraits are born from the juxtaposition of sounds and images taken from the audiovisual archive that is YouTube. Copyright is neglected, the purposes of those who are neglected are usurped, and (im)possible truths are rehearsed. Thus, O Retrato de Mónica does not seek to be an inflexible document—one that informs and certifies—but rather an audiovisual montage capable of suggesting the inevitable multiple identities of things.
