In her most recent work, Poisoning/Phoenix Performance Documents, Monet Clark frames her real life events as performances. She documented events with self portraits in various mediums of photography, including Polaroid. Arranged in diptychs, this series is composed of a provocative set of before and after images, from 2001 and then 2006-2008. In a visual dance, she draws the viewer in, as she exposes her tragic illness from environmental poisoning, then displays her, seemingly miraculous recovery. Reduced to a skin and bones state, the 'before' images are hauntingly disturbing and at the same time beautiful. Paired with striking self portraits of her present, recovered form "like the phoenix rises from it's ashes reborn anew" these pieces are transfixing. She seduces the viewer into looking, at the ins and outs of a "public health crisis", the dumping of toxic elements into the Earth, which is making hundreds of thousands of Americans, sick and dying.

Monet Clark's video art was exhibited widely in Europe, NYC, L.A. and San Francisco, all in the early and mid 90's (until she fell seriously ill from this environmental poisoning from the pollution left over from mining operations). She then all but disappeared from the art world, although she continued her to make her provocative work. In 2007 she began exhibiting again, mostly in Los Angeles.

With her past photographic works, installation pieces and performance/video art, Monet Clark also played on the themes of the beautiful and the horrific; 'darkness' and 'light' being parts of the same whole; subverting the voyeuristic gaze; coupling sex appeal with destruction and infirmary or repulsion. Monet Clark will shine a ray of hope, while at the same time address hard hitting political, and social issues. Hers is the craft of juxtaposing opposites and her work is simultaneously raw, yet visually sophisticated.  

Notable performance/video works are Ivy and Penelope 1990, Convulsive Stripper 1992 and Cross Voyeurism 1994. In the later title, she turns her video camera on a voyeur who is paying to video tape her, while she does a striptease dance. Her resultant footage gives the, art going audience, a scrutinizing view of this voyeur. Yet, in the process she is simultaneously roping in her art going audience, making them also apart of this piece. Each screening of it is an event, completing a voyeuristic triangle, where the lines are blurred between audience, voyeur and the subject of the voyeur.

In her upcoming work,The High Art Low Art Confluence, Monet prints video stills from 1995 on canvas. Here she is playing out the art history canon, using video stills she selected from her video tapes of dancer's sets in a strip club. The resultant 'paintings' are stunning and ironic. She is also working on a documentary photo project, capturing portraits of the members of a liberal, Northern Californian town, and she continues to capture images of herself in her ongoing performance art series.