From: Geraldo Melo
Rua Professor Ortiz Monteiro 88; Cob 01;
Rio de Janeiro; Brazil
Telephone number: 00 55 21 9331-5931
E-mail: firstname.lastname@example.org / email@example.com
A summary of the Geraldo Melo’s life and career
Geraldo Melo, is a highly accomplished Brazilian photographer; who began his professional career back in his youth, at the tender age of sixteen. Geraldo’s work as photographer was well known in Rio de Janeiro’s art scenes and within its inner circle, where Geraldo was not only discovered, but was also head hunted by the famous Rolling Stone Magazine Brazil Edition. Geraldo worked with the famous magazine as a contracted photographer until his mid twenties; throughout that time, he was also enrolled onto one of the most prestigious Art Institutes in Rio de Janeiro Public University, where he graduated from, at the age of twenty-one; with a Bachelor of Art Degree in Photography and Art History 1973. After the graduation, Geraldo left Brazil and moved to Paris, France, where he lived and worked for two years as a professional freelance photographer. The intention behind this move was to understand how photography and fine arts are interlinked. During that time, he developed a new passion, which was film and he began a new career as a movie director. In addition to that, Geraldo has collaborated with the Brazilian national institute for motion picture ‘Embrafilme Brazil’, which resulted with five celebrated documentaries in native Brazil. The new discovery along with his life long passion for photography would keep him occupied with diverse project, mainly in documentary films.
In accordance to his work as film director in the forthcoming decades, Geraldo specialized even further in portrait photography. The purpose behind this directional move was not only to understand but also capture the emotions of the subjects. Geraldo Melo’s main focus was and still is the silent language of the human body, which has been a consistent theme throughout his art.
Geraldo’s fascination for the body language theme grew so much that back in 1981 he launched studio a Deliríos Artes Fotográficas Ltda, in Rio de Janeiro. This innovative and diverse direction brought him a new advancement, where he worked as a photographer that specialized in advertisement. This meant that his career would once again, escalate for the third time. This new recognition captured the attention of the academic world, where he was asked to join and lecture students. Geraldo embraced the offer and began to lecture in arts, movie and photography at the University of the City, Rio de Janeiro 1982. He worked at the university for five years; during that time Geraldo published numerous work and presented several masterpieces in exhibitions that was portrayed outside the campus and city. Geraldo Melo’s exhibitions have been presented throughout Brazil.
Nonetheless, the eighties was the era of advanced technology, and the art world is known for its renaissance and high expectations to constantly renewal of artistry joined the high-tech bubble. Due to those changes and the high expectations that came with it, once again Geraldo recognized that self-education and intellectual capacity was not enough for the art scene. He therefore decided to leave academia and Brazil, so that he could gain new inspiration. Geraldo moved to the western atmosphere art capital, New York City, USA 1981. For two months Geraldo researched and trained in the up-to-date advanced technology of graphical photography; which was an unknown technique in Brazil. Subsequently, after the short period of training Geraldo retuned to Rio de Janeiro, Brazil. Geraldo introduced the latest technology to the Brazilian market – not only in how to capture images but also in how to manipulate images. This line of photographical work would keep him occupied from the eighties until now.
This innovation and originality turned him into one of the pioneers of his field, specifically when it came to employing the newest technique ‘graphical computation method’ in the design of advertising photography. Back in the eighties and to his native Brazil this meant that Geraldo was not solely an artist but also an inventor, a man before his time.
Moreover Geraldo being one the few photographers whom mastered the knowhow and proficiency in how to facilitate the new technology, his service and products was once more in high demand by the leading Brazilian advertising agencies, which sought to be part of his clientele. Furthermore, the agencies employed his service and asked him to execute exclusive commercial works for their unique brands, for agencies such as: J.W. Thompson, McCann-Erickson, FNasca, Salles, Artplan, Casa da Criação Contemporânea, DPZ, Fischer America, Giovanni/FCB, Ogilvy & Mather Brazil, Black Star in New York etc.
Alongside agencies, Geraldo was also hired by national and international companies; Petrobras, Coca-Cola, Citybank, IBM, Wella, Plus Vita, Pepsi Cola, Amsterdam Sauer, DeBeers, H. Stern and UNESCO. The difference from the former i.e. the agencies was that the later, the companies wanted him not just to create exceptional work but also to supervise the national marketing campaigns and so on which shows a leadership skills on Geraldo’s behalf.
Aside from that, Geraldo is a celebrated artist and his craftsmanship is known for its outstanding interpretations of a particular theme or motifs and the magnificent impact it has had on the Brazilian culture. Due to that acknowledgment, Geraldo was bound to be nominated for awards from his piers, not just because for his amazing artistry but on the condition that his art always have had solid illustration about the life’s of the common man. Throughout the years, Geraldo received tremendous awards; he won more than thirty prizes and has even received the prestigious recognitions from: Colunista Nacional by ABP Award, Cannes Photo Award between others.
In addition to being an advertising photographer, Geraldo has also throughout the years gathered, his own private collection, which emphasizes on illustrating the subjects within the object – the style Geraldo employs is not the image itself but one idée. His work is well-known for its standards and scenery, along with the fact that the core values of his photographs are not the subjects per say but rather environment in which they manifest. For Geraldo, this is a way of telling stories not of any kind but only one story, his own story, which is the way he views the world he lives in. Geraldo’s admiration and influences from the works Cartier Breson and Andre Kertész technique can be seen in his work. However, the difference is that Geraldo has adjusted the classic method, where he has added his unique style - which is to blend the above-mentioned technique with a touch of street photography; to be persistent the technique of snap shots photography. The distinctiveness of Geraldo Melos’s technique is in the way he edits the pictures, where he utilizes a simple and straightforward technique particularly in how he maneuvers the photographs. It is therefore easy to identify the works of Geraldo Melo.
During his career with his private photographs he has been invited to participate in several museum collection’s and in nowadays you can find his work at: Museu de Arte de São Paulo- MASP, Musée Français of la Photographie, Paris and Museu de Arte Contemprânea de São Paulo.
Three years ago Geraldo received an offer from Metropole, a media communication and information agency as their editor-in-chief. This meant that he had to relocate to Salvador, which is the Capital of the Bahia, where he lives and works today. Being the main editor at Metropole, Geraldo’s duties are not only to cover the news broadcasting in radio, newspaper and online media, but also to cover and manage the newspaper team and to direct the photographers.
1976- The Hinterland Turned Sea (O Sertão Virou Mar), documentary film about marginal population of San Francisco River.
1977- Here and there (Aqui… Acolá), is a documentary about small agriculturists in Paraíba.
1980- Carnival at every Quarter (Carnaval em cada Esquina),a documentary film about the carnival of Salvador.
1980- Bamba Rope (Corda Bamba), short documentary about the City of Salvador.
1981- Paraíba, macho man yes Sir (Paraíba, Cabra Macho Sim Senhor), documentary film about the conditions of the men’s life’s in Paraíba.
1972, Individual, Park Lage, Rio de Janeiro.
1978, Collective, Theater Castro Alves , Salvador.
1979, Collective, Theater Castro Alves , Salvador.
1980, Collective, Museum of Art of São Paulo, Masp.
1981, Collective, Museum of Art Contemporary of São Paulo.
1991, Collective, Museum of Modern Art of Rio de Janeiro.
1992, Collective, Musée Français of la Photographie, Paris.
1995, Individual, Cultural Center of the Light, Rio de Janeiro.
1996, Individual, Cultural Center of the Light, Rio de Janerio.
1996, Collective, University Estácio de Sá, Rio de Janeiro.
1998, Collective, University Estácio de Sá, Rio de Janeiro.
2003, Individual, João Caetano Theater, Rio de Janeiro.
2008, Individual, in the street of the Lapa district, Rio de Janeiro.
2010, Collective, Museu da República, Rio de Janeiro.
2012, Collective, La Gacilly,France.
Actual, Part of a Collection, Museu de Arte de São Paulo, MASP.
Actual, Part of a Collection, Musée Français of la Photographie, Paris.
Actual, Part of a Collection, Museu de Arte Contemprânea de São Paulo.
1989, Made in Brazil, Postcards Collection, Rio de Janeiro.
1990, Erotica, Postcards Collection, Rio de Janeiro.
1993, newspaper material about Geraldo Melo and his work, Jornal do Brasil, Sundays newspaper, Rio de Janeiro.
1998, The misery in Brazil, The United Nations in association with Brazils Education TV, São Paulo.
For the publishing company Rocco Ltda, amongst the authors Pablo Coelho, David Lindsey, David Morrell and Elizabeth George etc. Geraldo has also sold photos to the publishing companies Letras & Expressões and Luz da Cidade.
CD and DVD covers:
The cd covers to the musician Alfonso Romano de Santana, Eça de Quiroz for Pablo Autran, Ascenco Ferreira for Chico Anisio of the collection Said Poetry.
In 2007 he made the cover of the DVD Good-Creole for Adolph Caminha read for Pedro Paulo Rangel.
In 2000 a graphical project for the dance company Aerial Cia with the spectacle Outskirts of the Lapa, in 2003 for the spectacle Watercolor and 2005 for Funny.
In 2001 he began to work with the Cia. Pablo Mantuano in 8ª Panorama Rioarte de Dança, making their first graphic project and video-dances and continued in 2003 for the spectacle Yesterday, Tomorrow of Today.
1996, New Flooded (Novos Alagados), UNESCO, Rio de Janeiro.
1997, All the Saints of Bahia (Todos os Santos da Bahia), Fundação Cultural da Bahia, Salvador, Bahia.
2006, January in Rio de Janeiro (Rio De Janeiro a Janeiro), Luz da Cidade, Rio de Janeiro.