Spirituality in contemporary art is a topic that often elicits skepticism, especially in bustling metropolises like those in the United States. However, the exhibition “Mestre Didi: Spiritual Form” at El Museo del Barrio challenges this skepticism by showcasing the work of Afro-Brazilian artist Deoscóredes Maximiliano dos Santos, also known as Mestre Didi. As a Candomblé priest, Mestre Didi’s mixed-media sculptures are deeply rooted in the religious ceremonies of the African diasporic religion.
Born in 1917 in Salvador, Brazil, Mestre Didi began exhibiting his sculptures in the 1960s, distinguishing between objects used in religious ceremonies and those displayed in art institutions. By the time of his passing in 2013, he had established an international art practice that highlighted African diasporic perspectives in Brazilian art and challenged the Eurocentric norms of the art world.
The exhibition “Spiritual Form” is Mestre Didi’s first monographic show in the US in 25 years. It offers a comprehensive exploration of Candomblé cosmology and its African origins that influenced the artist. The show not only features Mestre Didi’s sculptures but also includes works by other Afro-Brazilian artists, such as Antonio Oloxedê’s striking sculpture “Igi Axé,” which adds depth to the narrative of African spirituality in art.
Each of Mestre Didi’s sculptures tells a unique story, blending symbolism and tradition with modern artistic techniques. Pieces like “Ope Awo Ibo – Mysterious palm of the woods” and “Ejolorun” capture the essence of Candomblé cosmology through intricate details and symbolic imagery. The sculptures serve as a bridge between the physical and spiritual realms, embodying the rich cultural heritage of the African diaspora.
In addition to Mestre Didi’s work, the exhibition showcases other artists like Nádia Taquary and Ayrson Heráclito, whose pieces complement the spiritual themes explored in the show. Taquary’s wall-hanging sculptures and Heráclito’s video installation “Ijó Mimó” offer a contemporary perspective on African spirituality through different mediums.
As a newcomer to Mestre Didi’s work, I left the exhibition feeling grateful for the opportunity to experience his art and disappointed that major museums had not yet offered retrospectives on his work. “Mestre Didi: Spiritual Form” serves as a reminder of the diverse narratives in modern art that deserve recognition and celebration. The exhibition runs at El Museo del Barrio until July 13, curated by Rodrigo Moura and Ayrson Heráclito with curatorial fellow Chloë Courtney.
