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Experimental Communication

Carmo Pinheiro de Melo

I am a multidisciplinary artist. I work closely with different mediums, exploring their ‘manuality’, their texture, and combining them to create something new. This knowledge of multiple mediums gives me a unique perspective on how I approach my work and the projects I’m involved in.

As a creative and a communicator, I explore topics like feminism and materiality, which I came to develop while completing my Masters. Working with materials is vital for any piece that I create, exploring the relationship between people and the physicality of art and destabilizing the public’s understanding of it. I do this while always taking my personal view as a starting point of each argument.

The way I work conveys a lot from my experiences and takes on life. I gather a lot of influence from my photography background, which significantly impacts how I frame my work. I wouldn’t say I’m a photographer, a painter, a designer or a fine artist. I’m a creative, and that gives me the freedom to develop my own ‘title’.

Contact

Instagram

Personal Website - Carmo Pinheiro de Melo

Collaborative Project Website - ExPort Radio

Degree Details

School of Communication

Experimental Communication

On my podcast series Parlapiê, I discuss future of female crafts with two other artists. Discussing our practices and how we can give value to the history and methods behind our work. Listen to the full podcast here.

The knowledge that something is 'crafty' or 'done-by-hand' comes with a lower value – that of the hobby rather than art. Not deemed to be evaluated as something more than that. 

What is, actually, the difference? Something done by hand as opposed to what? Something produced by machines or tools? Why is a photograph at a higher status than a quilt? Why do we give more value to the tools that help us make the object than the person behind it?

In a time where we find ourselves taking refuge in more homely comforts. I found myself with the thought that the weave I was producing would never be considered as something recognisable by ‘society’ as a piece of art. That these trades would be forever stuck on the floor of our houses as decoration or simply as objects that serve their purpose by providing us with warmth.

Untitled Handmade Collage

Untitled Handmade Collage

Untitled Digital Collage

Untitled Handmade Collage

Untitled Handmade Collage

Untitled Digital Collage

Textiles is generally seen as a hobby, while woodwork is taken as a professional practice. So, it’s not crafts in general that is undervalued but specifically craft made by women. There were movements before that brought the crafts to light like the arts and crafts movement and the Bauhaus, but these still failed to acknowledge craft made by women within their settings. Nor for that matter, Portuguese craft. 

I want to give it the value that it deserves. I want to give the craftswomen and generations of people that live from these trades the recognition they deserve. 

In Portugal, where I'm from, you cannot make a turn without seeing a craftsperson’s workshop. So many grandmothers grew up living from their skill sets as tailors or with weaving, spinning and dyeing. The works by women that are produced and sold as souvenirs of ‘traditional work’ is what I would like to raise up to the value that they deserve. I will be re-evaluating the position of craft made by Women. 

We have street fairs filled with locals trying to sell their crafts and it’s still taken so lightly that people who ‘work with their hands’ actually respect the material a lot more than anyone else. The generations of people shown in the style that I grew up surrounded by. Some of these pieces are over 100 years old. I am producing a tapestry that represents these women and their work.

Medium:

Mixed Media and Textile

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ExperimentalFemale ArtistMixed MediaTextile Art

Untitled — Envisioning the tapestry in a physical setting using a green screen as a mockup. From the Wall to the table.

Untitled — Envisioning the tapestry being used in a traditional and 'homely' setting using a green screen as a mockup.

Untitled — The first part of the outer layer is started using the latch hook technique.

Untitled — From the drawing to the tapestry process.

There is a relationship between the physicality and the history behind it, there is a respect for the history behind it and the knowledge of the craft that is taken from mothers to daughters. Pieces made by women that are generally associated with the domestic environment and womanhood – Judy Chicago's work is relevant here in stating the position of women in the arts. I'm reclaiming the ancestral arts and techniques from a modern position. 

I had plenty of male artisans in my life, but not enough female ones. My work is taken from a feminist perspective of the cultural craft traditions and women’s roles in the art world.  

Yes to hand-made and yes to history-crafted art. 

In my design I use symbols that represent the relationship between women and craft, creating a history of meanings within the tapestry. Incorporating feminine elements like the flowers and curved lines, exploring and respecting the historic similarities with the Arabic designs of the cornucopias; the elements and colours of the portuguese tiles; while keeping the layout of the traditional 'arraiolos' rug.

Medium:

Mixed media and Textile

Export Radio Logo

WHO?

Our station is Internet-based and led by Experimental Communication students at the Royal College of Arts of London. We curate weekly showcases of music, conversation, and interview, collected from both RCA students and further afield. This sonic-satellite is an opportunity to re-invigorate the public through worldwide collaboration and discussion, whilst also building bridges in a post-Brexit, mid-Covid-19 environment.

WHY & HOW?

Used as a knowledge-sharing and collaborative platform, Export Radio offers a parallel space for students to reflect on WHAT they are learning about, but especially HOW they are taught at the RCA. In the context of the Work In Progress show, students felt the need to find a more humane and interactive way to share their work, their concerns regarding the institution they are studying in, but also their professionalization. WHAT WILL HAPPEN NEXT, once we leave the RCA?

Following this thought, the team at Export has put together a 24hours Livestream which will feature performances, roundtables, Q&As… It will offer students another format for visibility, getting their voices heard within and outside the ‘walls’ of the RCA. To close-up the Work In Progress show week, Export is organising an AFTERPARTY open to all! Starting with a workshop on EXperimental COMmunity Radios hosted by RCA tutors and students alike, the party will then carry on with DJ sets takeovers from 5pm onwards. Keep tuned!

We’re looking forward to ‘hear’ from you and meet you on our audio-visual waves!

Export Radio 

xx


Both events will be hosted on Export Radio’s website : www.exportradio.club

For more information and updates you can contact us on instagram: @exportradio or via email: exportradiosubmissions@gmail.com

POSTERS BY: Dougal Verinder Gedge 

LOGOTYPE & VISUALS BY: Louise Gholam

CURATION OF THE SHOW BY: Carmo Pinheiro de Melo


In Collaboration with: 


Dougal Verinder Gedge

Co-founder & co-creative director

Louise Gholam

Co-founder & co-creative director

Medium:

Collaborative Radio Platform
5 February 2021
15:00 (GMT + 0)
https://www.exportradio.club/

RCA WIP SHOW AFTERPARTY at ExPort Radio

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29 January 2021
17:00 (GMT + 0)
https://www.exportradio.club/

RCA WIP SHOW 24 HOURS LIVESTREAM at ExPort Radio

Performances, talks, meet the makers, discussions, DJ sets and musical sessions

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