"Più non mi par, Bettin, del dritto
fore, leggendo che de' Marmi
uom 'innamora poi che l'oscura
Notte e l'Aurora risplendente
rimirai del gran Scultore divino
ingegno e man più ch'altre dotta
ha il ciel, più che mai largo,
in un congiunto perché
l'Arte non ceda
alla natura."
(Michelangelo)
"O inventado é
um todo sem resto.”
(Amilcar de Castro)
Metallic-Undulating NÃga,
a larger-scale sculpture. To create it,
my perceptions were assaulted by the
image of a serpent, semi-erect, turned
towards its own s p i r a l i z i n g
tail. B e i n g tinny and flat, this
expands i t s features to
concomitant a b s t r-
actions that great-
ly magnetize me.
Omphallus represents a futuristic totem.
I had no recollection of the Monolith in 2001: A Space Odyssey - nor are they formally similar -, however, both probably have Siamese symbolism
in my i n n e r m o s t cosmos.
Head in Blue revolves around a
certain figurativeness, but under indeterminate features. What
I usually call´Reclusive
Anatomy´. Which is
and should be
a c l e a r
enigma.
UNTempotemple was designed as a seminal architectural Construction, undoubtedly with Moroccan leverage. not exactly a monastery but, in my primal imagination,
an ecumenical, syncretic, omniscient
space dedicated to c ontemplation
& meditation amidst a polar aura
setting, u n d e r an affection-
ate friction of snow. So that
we may gaze into the abyss
- w h i c h is us - and have
our behold reciprocated,
...until the leap, ...until
that d a n c i n g
i n t h e a i r.
Mush Room, initially a sculpture
in i t s e l f. Or the simulacrum of
a chamber (and I'm referring to the
concept of chamber music ) in itself.
But under g r a d u a l observation,
I discovered that it could also become
a kind of idiosyncratic chair. What makes
it delve into the perspective of furniture.
And that sounds quite S a t i e s q u e to me.
Jikan. This h a p p e n e d at
Mount Baldy. When Leonard Cohen
was ordained a Buddhist monk, his Zen
master, Rochi, gave h i m the name jikan. ´Silence´. Or the ´s i l e n t one´. Even´the
s i l e n c e between t w o thoughts´. My
other t h o u g h t was to combine a certain monumentality, on the o d d o c c a s i o n, à la Richard Serra and a motif of African origin..
Sâmara, a winged nut or achene containing one pip, as in ash and maple. More precisely, it was the winged seeds that led me to the design of such outsized sculpture. The phenomenon of anemochory, grains
that use the wind to disperse, traveling
long distances from the mother tree to reduce competition... Flying like helicopters?
b l o o m. B l o o m s d a y.
Giant wheel eye. A circular choreography always accompanies me, probably due to
my fascination with whirling dervishes.
Hans Brinker reminds me of the projection
(in form, color, texturE...) of a flood
at the point of a f i n g e r.
Oiseau de feu would be, in my view,
a holographic simulacrum of a phoenix
that is omnipresently pyrophagous in itself.
Menschliches, allzumenschliches triptic. Untimely Considerations? No. Sculpt-
ing with a hammer! We become who
we are. Magnum, Multum in parvo.
Boltzmann brain. reductio ad absurdum. Entropy paradox. Floating brain. Brain floating in the v o i d. Incorporeal
C o n s c i o u s n e s s. Cognitive
Instability. Halluci . . . n a t i o n.
Neue Wiener Schule. Out of series.
A sort of Melgacian plastic
atonality, peradventure.
or Dodec-afonism?
ballerina. It relates to one of my intra-artistic involvements. here, with dance.. Starting from soundtracks. O M, the
initials of my name, clearly visible,
are like my timbre, as a composer,
flowing movements, therefore. At
the same time, there is the figure of
a ballerina, an anthropomorphic suggestion. With her feet on
the ground pointing upwards,
her knees projected forward,
her torso inclined diagonally
and her head turned back-
wards and downwards.
b o d y l i s t e n i n g.
O t a c í l i o M e l g a ç o
A d d e n d u m - The context of some of the pictures in O.M.'s works is illustrative; (such as, for instance, a plausible simulation
of the original proportions conceived for this or that visual
Oeuvre, or a coherent setting that reflects, spatially and environmentally, the insertion of the invention into its
´modus operandi´) however, all sculptural creations
are real, and (It's worth mentioning that for several
critics, Including prominent neuroscientists, it is
neither´intelligent´nor ´artificial´] no > AI <
was used to forge the m e l g a c i a n
b r e e d i n g s themselves..
Check out the Art Book
MELGAÇO SCULPTURES
- From The Self-Sustainability
Of Emptiness To The Interdependent
Iconoclasms Of Forms - on A m a z o n !