Power Through Art

William Ferrara
Aug 23, 2017 · 5 min read

Here at The New Age, we oftentimes focus on a lot of negatives in our world today. Whether it be Trump, or Terrorism, the media seems to be inundated with all sorts of doom and gloom. That’s why we’ve decided to start a new section dedicated to spotlighting young and upcoming artists who really speak to us. We hope they inspire you as much as they inspire us.
As I’ve said before, the inspiration to write sometimes strikes us in the places we least expect. This certainly is the case of a young Boston artist named Melford.

I was walking around in Boston one day when I happened to stop by an art exhibit being put on in the Prudential Center. The art and the artists were eclectic, ranging from homeless artists drawing on the back of scraps of paper to art school students. There was a group dedicated to rehabilitating abused women through art, and even a group using art as therapy for disabilities and substance abuse issues. I was talking to artists and group managers, appreciating what they were doing and offering encouragement, when I spotted a painting through a group of people ahead of me. At first I was drawn to it as it was reminiscent of classic hip hop culture (of which I am a lifelong, diehard fan). It was gritty and hard at first look, set on what appeared to be a street corner or alleyway, exposed brick and concrete with graffiti, cigarette butts and kids standing around in torn jeans, with one wearing a mask a la MF Doom. When I got closer, however, I realized that the turbulent time the painting depicted wasn’t the late 70’s/early 80’s birth of hip-hop, rather the time we live in now. The person on the right was holding a version of the declaration of independence that made bold statements against oppression and unjust leaders, a newspaper blowing by in the wind declared “No More Alternative Facts.” The person in the middle carried a bat branded “Hate Crusher” and wore pants emblazoned with the flags of several nations. This painting took everything we try to do here at The New Age and put it in to a single, wonderful image that easily conveyed what it would take thousands of words to say. I knew at that point that I had to talk to the artist behind it.

Unfortunately, Melford (or Mel as he goes by) was being engaged by what seemed like a wonderful young couple. While waiting on them to finish their conversation, I perused some of his other art. Every painting of his had its own unique style, no two the same, yet each distinctly bore his signature. He had several that seemed to be commentaries of his life and emotions, while others made a political point. Others still just seemed to be for fun. After what seemed like hours of waiting, Mel was finally free to talk. I introduced myself and almost immediately knew I wanted to write about him. Mel is 29 years old and was born in Nigeria. He came to Boston in 1999 as an 11 year old. He’s been drawing for as long as he can remember, and doesn’t really seem to know when his passion started. Inspiration has always been easy for him. “It was initially the need to capture or mimic the things that piqued my interest” he told me. Eventually though, his inspirations changed. As the political climate in America changed over the past year, Mel felt the way many Americans did. When President Trump was elected, it caused a dramatic change in his artistic outlook.

“I seem to have found inspiration in the volatile political climate. In light that everything that’s happening, it was imperative that I lend my voice to the opposition or resistance.” When it came time to express himself and stand up for what he believes in, Mel knew he already had the medium to do it in. Art, which had come so naturally to him growing up, was now his method of civil disobedience. Naturally, as his style became drastically different, his subject matter was no longer for fun. His lighthearted musings turned in to darker portraits of the America he and many others slowly saw becoming a reality. “The change” he says, “is quite staggering, obviously because I never saw myself as someone who is concerned with ins and outs of the political arena. I used to create or make art that amused me, lighthearted things like Superman and Batman! Now my heart is heavy, my outlook grim, so I’d have to be completely ignorant to not address how I am feeling.”
His art now has many meanings behind it. Sometimes he still likes to have fun with it, but oftentimes he’s addressing the issues that strike close to home with him. He’s pledged to not be silent about the issues that truly matter, things like racial inequality, and says he will fight to his last breath for what he believes in. He realizes the difficulty of the task he has set ahead for himself, and quite candidly admits that he may not live to see the fruition of his work, but that doesn’t deter him from it. “I am (not) naive enough to think that such a healing process will come to pass with ease, no! It will a long, difficult and arduous journey, but the benefits are boundless because for “us” to survive as a nation, we must become one people!” His ultimate goal? For people of all races to be equal and to use his art to help them see each other as such. It is the opinion of this writer that he is well on his way to making that dream a reality.

The New Age

The Millennial Voice of America: Politics, Social Movements, and Much More From the Viewpoint of Millennials. (Progressive)

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William Ferrara

Written by

US Army Veteran and URI student who finally made it back north. Perpetually frustrated and always searching for intelligent debate or good whiskey.

The New Age

The Millennial Voice of America: Politics, Social Movements, and Much More From the Viewpoint of Millennials. (Progressive)

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