Mesquita thinks especially about
and labor, signaled by his use of industrial materials such as cement, grease, plaster, and drywall, along with traditional oil paint, and unusual paints, such as nail polish. On large slabs of cement, which recall the work of
, Mesquita paints people and cloudy skies, editing out the urban landscape, which is hinted at in silhouette. “Extinguished of full meaning,” says
the artist, “they become tombs of permanence, in a dystopia of illusion.” In Imanência [Imanence]
(2014), a tall, curving cement slab projects from the wall. The bottom third is painted with a beautiful cloudy sunset in blues, reds, yellows, and grays. The sky’s horizon has been redacted, represented only as a jagged edge. Similarly, in Corpo Sólido (Solid Body)
(2014), the sky is punctured by thin blank spaces: unpainted telephone poles and streetlights, hinted at only through negative space.