Mónica Meira has explored various styles, from seventies-influenced pop to landscape. Her large body of work reveals her interest in drawing and engraving. Her graphic work from the nineties is outstanding, including combinations such as intaglios mixed with aquatints and metal engravings with intaglios. In these works, the artist's taste for mixed techniques and random printing results is evident. With regard to painting, the use of acrylic and color that is not necessarily a reflection of nature are notable. As for themes, they may be organized into three groups: still lifes, human figures, and landscapes. In her initial work, a series of women’s objects such as bags, gloves, and wallets stand out. Later she developed a series of portraits and self-portraits, as well as a long series of works on the theme of bathing. On this subject the artist wrote: "In the eighties I worked more on the figure and the body; I was looking for a nude that could be something special for its time. I see in the history of art an obsession with the human body and I find different abstractions of it that define different periods. In the eighties I saw a greater obsession with the human form, trying to find the perfect measure in the gym, through dieting, food, trying to build a new body. I went to the beach, took pictures, and started drawing and analyzing the figure, looking for a new nude and a new body. The line was very important in these drawings. I started with a silhouette as a dominant shape.” Her most recent period features strange extensive desert landscapes and gigantic mountains, with minuscule human and animal figures that evidence the thinness of the line between the imaginary and the real. Her academic training and knowledge of art history have provided Meira with valuable conceptual and practical tools for the development of her creations. She is an artist who addressed the artistic expressions of her time and observes them with a critical gaze.
- Rubiano Caballero, Germán. 2010. Mónica Meira: creación a toda prueba. Accessed at: https://www.eltiempo.com/archivo/documento/CMS-8646381