Solo Exhibition - "METAMORPHOSIS IV" - Instituto Internacional Juarez Machado, Joinville / SC / Brasil, 2016
Solo Exhibition - "ON WATERS" - MuMA - Metropolitan Art Museum, Curitiba / PR / Brazil, 2016
Solo Exhibition - "ON WATERS" - MIS / CIC - Museum of Image and Sound of Santa Catarina, Fpolis / SC / Brazil - 2016
Solo Exhibition - "ONDAS DE LUZ" - XX Biennial of Curitiba / MuMA - Metropolitan Art Museum, Curitiba / PR / Brazil, 2015
Solo Exhibition - "DEFINING TIME" - Helena Fretta Art Gallery, Florianopolis / SC / Brazil - 2015
Collective Exhibition - "Dialogues Exposed" Opening Space II - Badesc Cultural Foundation, Fpolis / SC / Brazil, 2014
Collective Exhibition - "Interferences - Scott MacLeay and Guests: The Road to Florianopolis", - Lindolf Bell Museum - CIC, Fpolis / SC / Brazil, 2014
Collective Exhibition - "Perspectives (s)", - Helena Fretta Art Gallery, Fpolis / SC / Brazil, 2014
Collective Exhibition - Photograph (s) Contemporary Brazilian: Images Traces and Noises - Santa Catarina Art Museum - MASC, Fpolis / SC / Brazil, 2013
Collective Exhibition - In Photography - Badesc Cultural Foundation, Fpolis / SC / Brazil, 2012
Collective Exhibition - Nearly Invisible Cities - "Snapshots Snapshots" - BRDE Cultural Foundation, Fpolis / SC / Brazil, 2011
Collective Exhibition - "Snapshot Fragments" - Orchard Art Gallery, Bethesda / Washington / EUA, 2011





Juarez Machado International Institute, Joinville / SC / Brazil - 2016

Art is transformation on multiple levels. It is an ever-evolving language whose rules of syntax are simultaneously rooted in the respect for historical references and in the rejection of the comfort zone represented by these same traditions.
Contemporary artists often find themselves in a permanent state of flux that guarantees ever-evolving perspectives on the world around them. Sometimes small, sometimes large, but always significant, these changes, the investigations they provoke and the works they inspire, can provide intimate insight into the experience of transformation – one that literally defines the artist’s existence, if even for a fleeting moment.
Metamorphosis IV represents Marco Giacomelli’s three-year journey to transcend the visible and celebrates his development of the innovative visual language that empowered his departure from representational interpretations of the world around him. The exhibition brings together for the first time works from his TRILOGY: SOBRE ÁGUAS – TANGIVEL/INTANGIVEL – BAMBOO, OUTRAS PERSPECTIVAS, three journeys inspired by the unique natural environment of his native island of Santa Catarina.
Inherently modular in nature, the works are never presented in the same manner or configuration. This exhibition marks their fourth mutation. Each exhibition is a rebirth, an entirely new perspective on the elements that takes into account the new environment they inhabit - a study of the power of juxtaposition and interdependence to alter perception. Like an individual in new surroundings, each work involuntarily reveals previously unknown facets of its being, transforming interpretation and altering relevance in previously unexplored and unexpected ways.
Choosing to investigate the power of abstraction in landscape work in no way reflects a rejection of visually explicit content. It is simply a celebration of both the palpable and the imponderable, of the permanent and of the ephemeral, based on the thought-provoking emotional experiences and sensations roused by the settings in question. At the end of the day, the only limit on the power of abstraction to reveal a relevant personal truth is our imagination.

Scott MacLeay / Curator





MIS / CIC - Museum of Image and Sound of Santa Catarina, Fpolis / SC / Brazil - 2016
MuMA - Metropolitan Art Museum, Curitiba / PR / Brazil, 2016

If art serves a social purpose in any universal sense, it is to stimulate open-ended reflection across a broad spectrum of people and without concern for directing or guiding the resulting thoughts in any particular manner or direction. When it is powerful, it is capable of creating non-linear narratives that transport us to unknown destinations, to new levels of perception of ourselves and of the world around us. Its pertinence derives directly from the intensity of the artist’s personal experience and the integrity that frames the transformation of this experience into a work or series of works. It is perspective in its purest form, uniting emotional, intellectual and psychological perceptions and whose purpose is to question our own relevance and perspective.
Sobre Aguas is one man’s multifaceted experience with water – water as the source of life, water as a hostile environment, water as a basis for meditation and reflection, water as a playground, in short, water as a metaphor for the universe and its ultimate neutrality in questions of pleasure and pain and of life and death.
Marco Giacomelli has created an environment in which we come face to face with our insignificance when confronted by an element whose seemingly eternal existence dwarfs our ephemeral presence. The exhibition speaks allegorically of water’s mysterious power to interrogate and reveal hidden truths about our character. This work is not to be consumed as a product; it is to be experienced and as such seeks the collaboration of the spectator. It contains the secrets of one man’s journey of discovery and all that accompanies such exploration: the doubt and instability expressed of Aguas Incertas; the constant evolution of those invisible forces that frame our lives in Aguas Instávais; the riddles that emerge from the significance of often ignored small differences between elements/events and personalities in Aguas Revoltas.
At first glance, the complexity of the abstraction employed as the vehicle of expression might lead one to erroneously consider the exhibition as a labyrinth-like experience. There are no exits here. The exhibition is a puzzle without a rational solution. It mimics life. Like all generous work, it offers as much as we are willing to give and what it has to offer is questions. Some are rhetorical in nature, while others quite clearly seek replies on the part of the spectator. There is no hidden agenda here, just one man’s truth based on intensely lived personal experiences and the private interrogations inevitably generated by such intensity. When conceptualized and shared they represent social relevance in its purest form.

Scott MacLeay / Curator


Exhibition Catalog





XX Bienal of Curitiba, MuMA - Metropolitan Art Museum, Curitiba / PR / Brazil - 2015

Something happens when we unmask the pretense of photographic truth and contest obsessions with purely figurative representation - something exciting and challenging, something worth exploring. This installation of images from the series "bambu, outras perspectivas" e "tangível intangível" engage us in a perplexing yet motivating dialogue concerning such exploration.

Scott MacLeay / Curator





Helena Fretta Art Gallery, Florianopolis / SC / Brazil - 2015


The history of art is paved with the traces of artists visiting and revisiting the invariable content that comprises our world. Artists don’t invent new content. At best when they are innovative, they offer new perspectives on time worn content in a never-ending search for a more profound understanding of ourselves and of the world around us. The relevance of work does not depend on the artist knowing where he or she is going; it depends on the sincerity and integrity of the journey and the amplitude of the risks their natural curiosity obliges them to take. In this sense, all sincere work undertaken without fear of failure has social relevance. DEFINING TIME is a collection of such works. They are bold, physical pieces. There is both strength and defiance here. There is ambiguity and confusion.
There are flows and synergetic encounters. There is sensuality and a delicious lack of respect for certain photographic traditions in the manner in which the landscape genre is revisited. There are no idle discussions pitting analogue against digital. With curves that chart non-linear trajectories reminiscent of Richard Serra’s monumental sculptures, these works constitute a form of two-dimensional land art, confronting us and challenging us to Scale and chromatic qualities are exploited to investigate a form of abstraction that escapes the clichés typically associated with non-representational, conceptual work – that it is cold, that it is “about nothing” but itself. Powerfully autobiographical, this work is also about you and I and our difficulty to embrace change and step out of ourselves.

Scott MacLeay / Curator