Since the late 80s, Monk has engaged notions of authorship and identity, often recasting iconic works of art with a consistent and humorous criticality. His wide-ranging practice spans photography, sculpture, video, drawing, painting and installation, all employed in an irreverent scrutinization of the concept of originality. Through these varying methodologies, Monk considers the pervasiveness of certain art historical influences, many of whom Monk grew up absorbing through reproductions in books. This contrast between digital and physical, original and copy, is fundamental to the artist’s oeuvre, in which multiple references from art history are continually consumed, manipulated, and re-contextualized in an ongoing provocation of authorship, ownership and value.