Emil Melmoth is an emerging sculptor who focuses on gruesome, yet softly portrayed dark imagery. Emil’s works span across a surreal landscape and portrays the macabre, fragile, and powerless aspects and philosophies of life.

It is not the story, the political fictional tale that interests and remains of Emil Melmoth’s artworks. Beyond the seductions of genre and the great spectacular technique, what strikes, even more than the threat, once again staged, but of pure check, is the game that repositions itself to a higher level.

Emil’s work is exciting because it plays the game of power and desire to the end. That is, up to not being able to show it. In fact, a continuous counterpoint of the work is that of the artistic point of view, which controls everything, everything should control and yet cannot control, because there are blind spots, dead zones, where these perfected and further eyes, these prostheses, do not they manage to arrive.

And then the ultimate mise-en-scène is precisely that of staging, of the possibility of seeing and showing that art itself has when it is in the hands of a pushed, tense artist who knows well that one cannot show everything.

And that, thanks to the fact that not everything can be shown and that it remains a marginal invisible to the eye which for this very reason becomes essential, in this place power certainly hides and one can also hide.

You can play hide and seek with power, you can crouch, and then play the game even in the place of the occult, hoping to make a movie of it, hoping to show it, to smash those surveillance cameras and move, breathe in an overview, or in a further prosthesis, more total, more delusional, or more subjective. Not in the hands of a power, but for one, pure pleasure.