Exhibition views
1 of 7
Works
Slideshow
Thiago Martins de Melo, <em>Herança de Iroco, ou a Cama de Ulisses</em>, 2010, oil and wax on canvas, 200 × 180 cm - Mendes Wood DM
Thiago Martins de Melo, <em>O Teto</em>, 2010, oil on canvas, 200 × 180 cm  - Mendes Wood DM
Thiago Martins de Melo, <em>O Fantasma na Máquina, após Ryle, Descartes e Shirow</em>, 2010, oil on canvas, 200 × 180 cm - Mendes Wood DM
Thiago Martins de Melo, <em>Casa Útero</em>, 2011, oil on canvas, 180 × 200 cm  - Mendes Wood DM
Thiago Martins de Melo,<em> Descendência entre Traves</em>, 2009, oil on canvas, 140 × 200 cm - Mendes Wood DM
1 of 5
Thumbnails
Thiago Martins de Melo, <em>Herança de Iroco, ou a Cama de Ulisses</em>, 2010, oil and wax on canvas, 200 × 180 cm - Mendes Wood DM
Thiago Martins de Melo, <em>O Teto</em>, 2010, oil on canvas, 200 × 180 cm  - Mendes Wood DM
Thiago Martins de Melo, <em>O Fantasma na Máquina, após Ryle, Descartes e Shirow</em>, 2010, oil on canvas, 200 × 180 cm - Mendes Wood DM
Thiago Martins de Melo, <em>Casa Útero</em>, 2011, oil on canvas, 180 × 200 cm  - Mendes Wood DM
Thiago Martins de Melo,<em> Descendência entre Traves</em>, 2009, oil on canvas, 140 × 200 cm - Mendes Wood DM
Text

Thiago Martins de Melo

14/05 2011 – 11/06 2011


Mendes Wood is pleased to present Thiago Martins de Melo first exhibition at the gallery. The paintings, in large format, deal with the impact of the image on the body and the exacerbation of sexuality, both recurring themes in Melo's work.

Thiago Martins de Melo uses such technique to create his own universal system of symbols of magic and science, creating an anti-biographical narrative by means of communication between these two forms. It makes us ponder the meaning of a bad trip of pictorial verility, reinforcing the current crisis in defining the human form in art.

The ghosts projected on gender have a strong sense of erotic vigour, which come as a result of the artist liberating himself from taboo and prejudice to create something that is almost offensive in its fierce anti-dogmatism.

For a brief moment, in observing his painting, we begin to float into our subconscious, provoking feelings bordering on the aggressive and abusive.

The overwhelming, self-exhibited desire for trangressive libido is ever-present in Melo's work. For a few passing seconds, I inhabit his body, and speak to the painting. Melo reconstructs quotidian scenes in trieb and places them side by side with visages of serpents of betrayal and seduction, possesed beings, dogs with clamped genitalia, roots that more closely resembles intenstines and signs and ambiences of religion and torture. In doing so, his large-scale diptychs avenge the the imposed dichotomy of the body versus the mind, acheiving a newfound independence of surface now that this seperation no longer exists. 


– Marcio Harum

Menu