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A selection of Melman's work

Large-Scale Oils and Carved Alabaster are among the artists preferred mediums
Brain Tumor

Inspired by her lover's illness, Brain Tumor was Melman's first exploration of the oversized canvas.  Many of the stylings that would come to identify Melman's early period took root in Brain Tumor including the use of sexual overtones and organic elements. Influences of Georgia O'Keefe can be seen in this piece.

Passiflora coccinea 

Translated from Latin, Passiflora Coccinea means Orange Passionflower. The explosive use of color in Passiflora Coccinea enhances the already intense energy of the piece  One wonders if the absensce of facial features is a last vestige of modesty or a suggestion of universality.  


While much of Melman's middle period work is influenced by cubists like Max Weber and Georges Braque, Family brings forth influences of expressionism in it's intensity of color and brushstroke technique.  post-impressionists. One would be hard pressed not to glean the same sense of optimimism found in Van Gogh's Starry Night or Sunflowers.

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Mourning is is a classic example of the artist's use of realism in her stonework.  Carved from grey brucite, a slightly denser stone than alabaster with rust and emereld veins, Mourning conveys deep sadness and grief while projecting a deep sense of movement through use of line.

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Featured in the 11th edition of The Encyclopeida of Living Artists, Instruments epitomizes Melman's middle period when vast explosions of color offset common items whose scale has been manipulated to heighten a sense of distorted reality.  

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Surrender highlights the undercurrent of sexuality that permeates much of Melman's work. This piece shows elements first introduced in Brain Tumor and brought to fruitiion combined with cubist and realist elements which the artist would explore more fully in her middle period.  

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Girl in Alabaster


Unlike her paintings, Melman's stonework is seeped in realism as can be seen in Girl, a depiction of a young woman carved out of grey alabaster.  The artist is available for NJ sculpting lessons.

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Melman's later work shows the development of a poetic, figuritive style, not unlike the paintings of Marc Chagal and Henri Matise. Palomino, highlights recurrent themes in Melman's work and the use of the horse as a symbolic figure, a technique used often by Chagal as well. The elements that dominated Melman's earlier pieces are still present but more contained.  In Palomino one can see Afterlife and Family, but the colors have trended darker and more reflective.

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Afterlife has been referred to as the abstract alter-ego of Palomino.  A better take is one that sees it as Palomino deconstructed.  The elements are present, but have been inverted, distorted, justaposed to convey are very different emotional landscape. The sense of foreboding everpresent in Palomino has been replaced by something very different.  The title itself suggests that this is perhaps what follows the fear emitted in Palomino.

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