Flayed denim jacket, marked with names of punk bands and hallucinogenic substances, with on the back a star of nails framing the painting of a dead bird. The work perpetuates the object from Brian De Palma's film "Phantom of the Paradise," itself reprising Leroux's "The Phantom of the Opera." This principle of reuse—recurrent in Mesaros—illustrates a thought of continuity or even fatality. The worn garment, carrier of memory, becomes critical support for the commodification of art and the entertainment industry. The molt operates literally and symbolically: what was worn becomes exhibition object, metaphor for artistic identity in perpetual transformation.

_AI-generated text

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