Carlos Mélo is a visual artist born in the northeastern backlands of Brazil, a region formed by a complex culture fusion from different African nations, some native Indian tribes and European with Moors origins.
The performances, photographs, drawing and sculptures of Carlos Melo bring the same mysticism of this environment. It is in the streams, forests, animals and the climate of the semiarid that Melo inserts his body. A contorted body that takes on superhuman forms.
Melo creates unusual relationships among furniture, microphones, bones and dense graphite stains that resemble hair shapes. It is a process that leads to the sensitive. The works are states of suspension and physical conformation, they are almost a state of levitation of the body.
In manipulating the construction of the image and the sculptures, he creates dialogue between images and words. These assume an image by transforming experiences into mythical and mystical symbols.
In "Colonial Furniture" the sculptures are made of ox bones, the sculptures come from a kind of anthropophagic metaphysics and require a certain balance to remain stable. Chunked on a wall or simply hung like a folded object, some receive thick layers of woody dyeing. The veneer as a metaphor for the colonization of our "fickle wild soul", as Eduardo Viveiros de Castro says.
The work "mischief Amerindian" is a neon panel mounted on white opaque acrylic plate. Programmed to light and erase the Iracema / America anagram, it surprises the audience by revealing three words: rica (rich), ame (love) and ira (anger).
Still for the exhibition at the art fair, the works from series Abysm are drawings produced from 2009 to 2017, with varying dimensions.