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By Enrique Martínez Celaya
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Additional info for Enrique Martínez Celaya: Collected Writings and Interviews, 1990-2010
Example text
He said something like, at some point I just paint myself right out of the painting. I feel that. Certainly there are artists whom I admire greatly, like Peter Halley, who I think goes from point A to point B and then to point C and then he is finished because it was mapped out before he started painting. But for me, and I think maybe for Enrique also, the painting evolves in an intuitive way and just at some point, there it is. It’s done. My feeling about finishing work is similar to yours. I think there is a moment in which a painting feels perfect, and it usually has to do with the moment in which the painting seems truly moving, direct, and unencumbered with stuff that is not necessary.
She also liked my drawings. From EMC’s sketchbook notes. 17 1 2 3 4 5 6 7 8 9 1 1 1 1 1 1 1 1 1 1 2 2 2 2 2 2 2 2 2 2 3 3 3 3 3 3 3 3 3 3 4 4 4 Venice Beach, California, 1996 1996 Notes April 4 (Pomona ca). On the issue of Object-Image. First of all I cannot immediately figure out why is the objectness of the work so valuable to me. 1. Do I enjoy “non-object” image-based work? Not really. An imagebased work, such as a Bouguereau is beautiful, even compelling, and yet it fails to engage me at a visceral level.
The head, as I am thinking about it in your aesthetic vernacular, is not only a sign of making memory but a symbol of desiring communion, a trope of the subject who wants love—love in the sense of intimately communicating with that which is “out there” and beyond. In other words, the head, rather than say a toe or a knee, is that normative sign of subjectivity and psychological relations. Am I getting too abstract here? 30 from an interview with m. a. greenstein, 1998 emc: No, it makes sense. The difficulty of this conversation is in part due to the terms we are using.