Emil Melmoth‘s sculptures are astonishingly beautiful and disturbing. Visceral, provoking, profane, they resemble bizarre religious medical experiments, crafted to a high degree of grotesqueness and macabre sensibility with meticulous detail. The extreme realism of his work only enhances its potential for horror. The subverted martyrs, women, children, demons, and hybrid beings which populate his sculpted imagination appear to be suffering greatly, as though their very nature were pain. They seem to have been granted existence by a diabolical and surpassingly sadistic God – creatures of hopelessness sewn together by an omnipotent needle. Their suffering is made palpable and shockingly tactile.
Blood and despair, tortured flesh, tormented ecstasies, distortions and abominations are rendered with painstaking subtlety in clay, metal, and wood. The victim-subjects appear vivisected, autopsied, flayed, torn apart and joined together countless times, in unholy combinations. This process of ghastly martyrization seems slow and infinitely effective, infinitely sinister. The carnal and the fleshly, the otherworldly and the ecstatic, combine in his subversion of spiritual works, embodied with merciless scientific exactness. The Last Rites Gallery aptly describes his works as “portraying macabre, fragile, and powerless aspects and philosophies of life. Melmoth’s wax anatomical models revel in a dark and surreal environment, where his depraved sculptures live in affliction: fragile beings in an eternally harrowing state of mind.”