Marcelo Maria De Castro

As an artist, I perceive that my painting frequently leads the viewer into a territory that recalls that curious expression I sometimes hear as “Mis a Bisme”—perhaps a slight phonetic mist of the French Mise en abyme, translating to 'placed into the abyss.' I like this idea of an image that folds in upon itself, like two mirrors conversing in silence and multiplying the gaze unto infinity. When I paint, I attempt to place the observer inside the artwork itself, as if they too were a layer of this reflection. My goal is for the beauty and the sublime of the painting to transform into a gaze—a gaze that returns to nature and, in this return, finds something of the divine. The canvas then becomes a small, luminous abyss where the viewer sees themselves seeing, and in that instant, contemplation can feel like a silent prayer, a sort of intimate orison directed toward the self and, at the same time, toward God."

"My creative process is a living ecosystem where the rigorous investigation of academic scientific experiences fuses, seamlessly, with the pulse of critical thought and the social tensions that I absorb as an attentive observer. I see no boundaries between the laboratory and the canvas; to me, poetry, literature, and philosophy are tools as essential as the brush or the pen, serving as a compass to translate the complexity of the world into forms and concepts. This constant synthesis between the intellect and sensitivity is what defines me: in every line I draw, in every paragraph I write, or in every class I teach, I manifest the result of a life dedicated to crossing disciplines, transforming the artist's vision into a continuous dialogue between aesthetics, ethics, and knowledge.

His portfolio has already been presented in individual and collective exhibitions in Brazil and abroad.
He seeks to constantly update his repertoire in artistic trips through galleries, museums and artists' ateliers in Brazil, Europe and North America. The works of Cézanne, André Derain, Richard Diebenkorn act as a source of inspiration and important references.
He makes a point of talking and interacting with renowned artists such as Judith Lauand, Paulo Pasta, Dale Nally, Fernando Leitão, Enrique Lipszyc, Claudio Tozzi, Ingris Speltri, Dimitrov Blaigov, Giovanni Bagnoli, Claudio Cretti and Luiz Paulo Baravelli - with whom he worked for 3 years.