Melissa Mejía's introspective journey in search of healing through optimistic scenes that help her reaffirm her faith in kindness, believing that there will always be a new world to discover tomorrow.
Melissa draws from comics, steampunk, kitsch, and "pop surrealism" on a journey to the past with all the Renaissance lineage in her transformation and vision, starting from blowing out her 15 candles on a visit to the Metropolitan Museum of Art in New York. Some time later, she re-imagines it, and in her process of artistic formation and construction, she sees herself in these robotized gazes trapped in her "blossom girls," using them to escape common places.
At first, as a creator, she may not have been aware of why these women are the way they are, but over time, she discovered a purpose: not wanting to define what beauty was, but rather creating a space of silence and wonder through them, women of an amoral beauty, fiercely feminine, and committed to a synesthetic perception, where the heroine has escaped the guillotine from the Palace of Versailles itself to land and find herself in her own world as a kaleidoscopic mirror revealing the past, present, and future.
This body of work, meticulously detailed, in which 1,200 hours in a piece are not enough to leave the soul in her fantasy of freeing these female figures, who take control of the ship and explore new territories among flamboyants and bayahibe roses.
"I'm Back, baby (the musical)," a reference to herself that turns out to be contradictory because Melissa has never left; she has always been in the collective memory of those who have always loved her art. From darkness, she found light, after an internal transmutation of the visual compilation of her universe among objects, circumstances, and places that have captivated her throughout her life.
Orlando Isaac
Curator
