Born in Genoa in 1984, he has been drawing forever.
Melkio himself explains the word “forever” as “ever since I can remember. I always used to throw away my drawings… I’d finish one, then throw it in the bin. Drawing came to me so naturally that it didn’t make sense to keep them.”
So, he embarked on his creative journey as a self-taught artist by drawing, gradually developing a style that grew alongside what we might call his ever-expanding imagery. And this visionary capacity gives us the key, the pathway, to the meaning of Melkio’s artistic work.
His exploration of graphics, the evolution of his signature, his incessant, concurrent experimentation with techniques (digital, silkscreen, stencil, printing, painting) and media (paper, plexiglass, wall), and the interplay of languages in many of his projects (drawing, poetry, storytelling, photography) represent the depth and breadth of his artistic work over the years.
But if, for a moment, we set the big, external picture to one side and focus on a closer, more intimate look into his work, we can see how Melkio has tirelessly worked, developed, designed and pursued his way of telling us his thoughts through every possible artistic medium.
Techniques, materials, media, languages become just accidental or, more precisely, they are tools that Melkio continues to refine in the course of the narrative of his thoughts that he has been composing “forever”. Therefore, his drawings, as well as his cross-disciplinary projects, must be classified as stories, narratives, conversations addressed to the audience, where his signature, or rather his means of communication is necessarily straightforward comprehension and easy listening. On the contrary, there is a complexity to what Melkio’s drawings describe with an essential signature.
Fragments of emotions, wishes, moments, memories, moods, ideas and visions on each occasion constitute with anarchic propensity the thoughts behind the graphic narrative.
Melkio’s art has increasingly focused on the study of this narrative need, also by developing projects in collaboration with other creative worlds.
Thanks to this additional exploration and experimentation work, in 2016, in collaboration with the Portuguese artist Anà Ferias, he exhibited at the Setubal Festa da Ilustração (International Festival of Illustration) with “Little Shadow Tales”, using poetry and drawing to interact with the images created by Anà. In 2017, he developed “Cement Heroes” with the photographer Yuri Segalerba, creating a series of digital drawings by deconstructing some of the images contained in Yuri’s photos.
The cross-contamination of Melkio’s artwork does not stop at images and photography; this continuous flow has driven him to turn his creativity towards something else, other languages, other ways of designing and composing.
For this reason, in 2016 he began working with several musicians in the international techno scene. These collaborations led him, in the first place, to develop graphic projects for the works of some of the top DJs and then, in 2019, to participate in the Sonar in Barcelona with a work of visual art. In the same year, he curated the stage performance called “Alice in Monsterland”, conceived and created for the Genoa Aquarium complex and freely adapted from the work of Lewis Carroll. He also began to collaborate with a Ligurian home design brand: “Belin”.
Thanks to these creative leaps in other artistic fields, Melkio forces his imagination to stay free and, as such, beyond any definition. Melkio bends his creativity like a contortionist bends his body, becoming something other than himself for a few moments, misleading and confusing us by taking on hybrid and unreal forms and then recomposing himself in perfect harmony before our astonished eyes.