Through intricately woven displays of minuscule glass beads and rhinestones,
For nearly three decades, Melancon has also developed a unique visual language that is both entrenched in the 250-year tradition and working to expand the scope of the practice. “The elders, the Indians, and the Black maskers that masked before me, they never saw this as a contemporary art form in the way that I do,” he tells Colossal. “To me, the elders are watching me, and I think what they taught me is different from what I’ve evolved it into.”
Often encircled by feathers, many of Melancon’s suits revolve around portraits of reggae icons, people who were enslaved and subsequently led revolts, and Mardi Gras Indian Big Chiefs who came before him. He’s also started to separate these figurative elements from their more comprehensive counterparts in recent years and has produced an extensive series of standalone portraits. The ongoing collection includes people who have been influential in his life and who have broad cultural relevance, including artists like Basquiat and Frida Khalo, ancient Egyptian queen Nefertari, and Breonna Taylor, a 26-year-old Black woman killed by police in 2020. “I like to teach with my work, and I want to make something that’s very meaningful,” he says. “It’s going to tell you something. It’s going to hit you in your heart.”
Sometimes years in the making, Melancon’s portraits exemplify his commitment to transforming the small, tactile materials into compositions evocative of painting. He references artists like
Beginning with a black-and-white sketch, Melancon always completes his subjects’ eyes first to “try to bring people back to the living stage with the portraits… so they can live, and they can look at me while I’m beading the rest of the piece.” For the artist, this spirited energy and sense of vitality are directly derived from his bold color palettes that compose a floral blouse or radiant, crown-like headdress.
Although Melancon didn’t mask for this year’s Mardi Gras—instead, he helped garner grants for those participating in the festival through his work on the New Orleans Tourism and Cultural Fund board—he’s currently in progress on a suit titled “Amistad,” in reference to