New York The beginnings

America, from Patagonia to Canada has another force, the energy of the present time and New York is a city that every Latin American should know. Pérez Celis 1985.

By Pérez Celis - Museo Virtual

Pérez Celis Foundation

Green Farms (1983) by Pérez CelisPérez Celis - Museo Virtual

In 1983 Pérez Celis is comfortably installed in Paris and imbedded in its cultural life, as a French newspaper expresses its surprise that "the Argentinean has two exhibitions in Paris at the same time" a fact considered astonishing even for a French artist. His house is a meeting place for artists from Argentina, France, Peru, everywhere. His brother Jorge also lives in Paris, he is journalist and interviews personalities. The daily visitors, besides Bruno Gelberg, Astor Piazzola, Mercedes Sosa, sometimes are George Moustaky or Brigitte Fosey. But his restless spirit puts him on alert, he feels he has made his European experience and the energy of his time concentrates now in New York.

Archive picture, Mario Diament, 1983, From the collection of: Pérez Celis - Museo Virtual
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He travels with Iris, they rent a house in Green Farms and paints for several months for a first personal exhibition in the United States. The place as described by his friend Mario Diament, journalist and playwright is a house that ”looks like made of chocolate” and the landscape in spring is an explosion of nature, foliage and light, unlike what he perceives in his Parisian atelier on the banks of the Seine

Book Hispanoamérica Moderna, Frederick S. Richard, 1972, From the collection of: Pérez Celis - Museo Virtual
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Paris with its forms and its gray color is still present in his work. He paints for the exhibition at Schweyer Galdo Gallery. Midday he keeps his routine as in Paris but museums are far, Green Farms is a place in Connecticut two hours from New York ,the museums are for the weekend. Perusing the great library of the house, one day between the books of the library he discovers Modern Hispanic America of Frederick S. Richard, the cover is one of his silkscreens, a work from the seventies, whose impression had been lost of sight. It's a good omen, the exhibition at Schweyer Galdo is sold out entirely, the second time in his life but not the last. The Pérez decide in favor of the New Land.

Archive picture, 1983, From the collection of: Pérez Celis - Museo Virtual
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Detroit Free Press, Marsha Miro, 1983, From the collection of: Pérez Celis - Museo Virtual
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La Razón newspaper, 1983, From the collection of: Pérez Celis - Museo Virtual
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La Vie, Pérez Celis, 1983, From the collection of: Pérez Celis - Museo Virtual
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"Without net" Rodrigo Alonso

" Now I can walk without any nets underneath me. Lately, I let the work lead me. Style can be a prison, if it is only an idea. Creation is something unknown […] The burst of the creative energy destroys any preconception, every day I’m more certain about that.''
Pérez Celis, December 6 1987

Algo azul y profundo, Pérez Celis, 1983, From the collection of: Pérez Celis - Museo Virtual
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In 1983 Pérez Celis moves to New York. He finds Paris too connected with the past, fixed upon the final sparkles of a modernity that has become static and paralyzing. Instead, the American metropolis boils with an incomparable energy and brings him closer to the loved America that has always been the source of his greatest inspiration. To Celis, the future is in this territory that goes from Canada to Tierra del Fuego, and he doesn’t get tired of repeating it in every single interview throughout those years. Rodrigo Alonso Without net .

Salimos Review, Osiris Chierico, 1983, From the collection of: Pérez Celis - Museo Virtual
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The move barely changes his rhythm of work. He still creates with a feverish impulse and an admirable perseverance. This activity doesn’t stop him from taking care of the circulation of his work that travels ceaselessly all around the American continent. The same year of the move, he exhibits in Schweyer Galdo Gallery of Birmingham (USA), Jacques Martínez of Buenos Aires and Camino Brent of Lima. The following year he exhibits in Castagnino Museum of Rosario and the Centro Lincoln of Buenos Aires and in 1985 he exhibits in Miami, New Jersey, Lima, Paris, Buenos Aires and Bogotá, finishing the tour with a successful retrospective in the Centro Cultural de la Ciudad de Buenos Aires (nowadays Centro Cultural Recoleta). Rodrigo Alonso Without net .

Adentro el sol y la sombra, Pérez Celis, 1983, From the collection of: Pérez Celis - Museo Virtual
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Dar movimiento, Pérez Celis, 1983, From the collection of: Pérez Celis - Museo Virtual
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All this movement has an inevitable impact on his work. The agitated cultural life of the Great Apple, its architecture, spaces, velocity, builds a very different environment to the European. Though, the main transformation in his work is not perceived in themes or forms sometimes present –some chromatisms, its expressiveness, the increasingly monumental formats - it is an emotional transformation. At this point of his career, Pérez Celis feels so confident about his work that he takes it as a real challenge, as a leap in the dark, with the certainty of finding the right way during the process of creation itself and not in the planning or the sketching. To some extent, the arrival in New York coincides with the discovery of his greatest creative freedom. Rodrigo Alonso Without net .

Antiguas voces, Pérez Celis, 1983, From the collection of: Pérez Celis - Museo Virtual
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In any way, formal transformations are evident. The American critic Peter Frank describes the first mutations with the following words:

“In this first set of paintings that Celis has produced since he settled in New York, the vibrant inflections of the metropolis can be seen in clear and surprising balances, different from the rhythmic and monumental formalism that characterized his work during the last decade. This inflection is embodied in an enlargement of its textual contrasts and color, contrasts that reach a rare dramatic extreme, even in its ponderous formal language. Rodrigo Alonso Without net .

El Tiempo se estira, Pérez Celis, 1983, From the collection of: Pérez Celis - Museo Virtual
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Beyond the variegation of brushstrokes and thundering arrows of flashing colors, the basic formal premise that remains is the confrontation of the main planes, usually two or three in each work. Some planes penetrate the others or are in turn penetrated by other plastic incidents. Other planes appear to invade each other in overwhelming demolishing waves. Other glide along like tectonic plates beneath the surface of the earth. In these latter cases especially, the material violence of the pasted oil or the graphite used gives evidence of the cataclysm… The previous paintings showed the planes in their mutual war, but not the energy flashes that sparkle from their shocks. Now, however, the tongues of fire and space collapses play within the motion of the planes. Settling in New York, it is clear that Celis has incorporated the hard profile of Gotham and New York art into the elegant portentousness of his art. ” (2). Rodrigo Alonso Without red

Catalogue Exhibition in Schweyer Galdo Gallery, Jean Cassou and Gaston Diehl, 1983, From the collection of: Pérez Celis - Museo Virtual
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Reconstruir formas, Pérez Celis, 1983, From the collection of: Pérez Celis - Museo Virtual
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Hay trozos que sobreviven, Pérez Celis, 1983, From the collection of: Pérez Celis - Museo Virtual
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Visiones mayores, Pérez Celis, 1983, From the collection of: Pérez Celis - Museo Virtual
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Cruzar señales, Pérez Celis, 1983, From the collection of: Pérez Celis - Museo Virtual
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Clarín newspaper, Fermín Fevre, 1983, From the collection of: Pérez Celis - Museo Virtual
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Archive picture, 1987, From the collection of: Pérez Celis - Museo Virtual
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Liberar mensajes, Pérez Celis, 1983, From the collection of: Pérez Celis - Museo Virtual
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El Observador newspaper, Fietta Jarque, 1983, From the collection of: Pérez Celis - Museo Virtual
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Exhibition Camino Brent, 1983, From the collection of: Pérez Celis - Museo Virtual
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Art News Nr. 7 Review, Rafael Squirru, 1983, From the collection of: Pérez Celis - Museo Virtual
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Realidad Review, Raquel Jodorowsky, 1983, From the collection of: Pérez Celis - Museo Virtual
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Realidad Review, Carlos Espartaco, 1983, From the collection of: Pérez Celis - Museo Virtual
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Descubrir fuerzas, Pérez Celis, 1983, From the collection of: Pérez Celis - Museo Virtual
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Atravesando planos II, Pérez Celis, 1984, From the collection of: Pérez Celis - Museo Virtual
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Listin Diario Newspaper, 1984, From the collection of: Pérez Celis - Museo Virtual
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Listin Diario Newspaper, Marianne de Tolentino, 1984, From the collection of: Pérez Celis - Museo Virtual
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Works and life of Pérez Celis (1998)Pérez Celis - Museo Virtual

Peter Frank, Peter Frank, 1984, From the collection of: Pérez Celis - Museo Virtual
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Pérez Celis paintings in Lincoln Center, Peter Frank, 1984, From the collection of: Pérez Celis - Museo Virtual
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Lincoln Center

New York, United States

Génesis, Pérez Celis, 1984, From the collection of: Pérez Celis - Museo Virtual
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Entrando a lo conocido, Pérez Celis, 1984, From the collection of: Pérez Celis - Museo Virtual
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Altares ocultos, Pérez Celis, 1984, From the collection of: Pérez Celis - Museo Virtual
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Ritual, Pérez Celis, 1984, From the collection of: Pérez Celis - Museo Virtual
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La Revista del mundo, Rául Santana, 1986, From the collection of: Pérez Celis - Museo Virtual
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Pérez Celis with Reunión de poderes, Pérez Celis, 1984, From the collection of: Pérez Celis - Museo Virtual
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Otras energías, Pérez Celis, 1984, From the collection of: Pérez Celis - Museo Virtual
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Lenguaje común, Pérez Celis, 1984, From the collection of: Pérez Celis - Museo Virtual
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Catalogue Ashkenazy Galleries Catalogue Ashkenazy Galleries, 1986, From the collection of: Pérez Celis - Museo Virtual
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Conciencia adquirida, Pérez Celis, 1984, From the collection of: Pérez Celis - Museo Virtual
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Recuperar fuerzas (1984) by Pérez CelisPérez Celis - Museo Virtual

Descifrar muros, Pérez Celis, 1984, From the collection of: Pérez Celis - Museo Virtual
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Planos radioactivos, Pérez Celis, 1984, From the collection of: Pérez Celis - Museo Virtual
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Catalogue Exhibition in Galería Camino Brent, 1984, From the collection of: Pérez Celis - Museo Virtual
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Signos diferentes, Pérez Celis, 1984, From the collection of: Pérez Celis - Museo Virtual
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Compartir fuerzas, Pérez Celis, 1984, From the collection of: Pérez Celis - Museo Virtual
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Listín Diario, Jacqueline Ventura, 1984, From the collection of: Pérez Celis - Museo Virtual
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Estar aquí, Pérez Celis, 1984, From the collection of: Pérez Celis - Museo Virtual
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Abrir Espacios, Pérez Celis, 1984, From the collection of: Pérez Celis - Museo Virtual
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Museo Municipal de Bellas Artes Juan B. Castagnino

Rosario, Santa Fe, Argentina

Archive picture Archive picture, 1984, From the collection of: Pérez Celis - Museo Virtual
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Archive picture, From the collection of: Pérez Celis - Museo Virtual
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Agitar vientos, Pérez Celis, 1984, From the collection of: Pérez Celis - Museo Virtual
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Unión de los opuestos, Pérez Celis, 1984, From the collection of: Pérez Celis - Museo Virtual
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Catalogue Exhibition in the University of Florida, 1984, From the collection of: Pérez Celis - Museo Virtual
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Florida University

Gainesville, United States

Atravesando formas, Pérez Celis, 1984, From the collection of: Pérez Celis - Museo Virtual
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Archive file, 1984, From the collection of: Pérez Celis - Museo Virtual
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Jorge López Ruiz, Sergio Renan, Marta Minujín, Arq. Melvin Crossgold, Iris lacoonich, Cipe Lincovsky, Pérez Celis, Mario Diament, Oscar C. Marra, Elayne Kahn, Leopoldo Maler in New York Studio.

New York Studio

New York, United States

Siete días Review, 1986, From the collection of: Pérez Celis - Museo Virtual
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Archive file, 1985, From the collection of: Pérez Celis - Museo Virtual
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Archive picture, 1985, From the collection of: Pérez Celis - Museo Virtual
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Newspaper Impacto, 1985, From the collection of: Pérez Celis - Museo Virtual
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Program's cover for Misa criolla Concert in Lincoln Center, Pérez Celis, 1984, From the collection of: Pérez Celis - Museo Virtual
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La presencia, Pérez Celis, 1985, From the collection of: Pérez Celis - Museo Virtual
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Territorio destinado, Pérez Celis, 1985, From the collection of: Pérez Celis - Museo Virtual
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Fama Review, Claudio Gurmindo, 1985, From the collection of: Pérez Celis - Museo Virtual
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Other shores, Pérez Celis, 1985, From the collection of: Pérez Celis - Museo Virtual
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Piedras proféticas, Pérez Celis, 1985, From the collection of: Pérez Celis - Museo Virtual
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Descifrar ritos, Pérez Celis, 1985, From the collection of: Pérez Celis - Museo Virtual
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La Nación Review, Hugo Beccacece, 1985, From the collection of: Pérez Celis - Museo Virtual
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Planos de conciencia, Pérez Celis, 1985, From the collection of: Pérez Celis - Museo Virtual
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Más allá de la prisión, Pérez Celis, 1985, From the collection of: Pérez Celis - Museo Virtual
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El civismo Newspaper, Luján, 1985, From the collection of: Pérez Celis - Museo Virtual
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Leyes transformadoras, Pérez Celis, 1985, From the collection of: Pérez Celis - Museo Virtual
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El Mundo Newspaper, David Boitano, 1985, From the collection of: Pérez Celis - Museo Virtual
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Significant first (1985) by Pérez CelisPérez Celis - Museo Virtual

Ese triangulo existe, Pérez Celis, 1985, From the collection of: Pérez Celis - Museo Virtual
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Power machine, Pérez Celis, 1985, From the collection of: Pérez Celis - Museo Virtual
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La Razón newspaper, 1985, From the collection of: Pérez Celis - Museo Virtual
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Distinction Orden El Sol del Peru, Comenadador, 1985, From the collection of: Pérez Celis - Museo Virtual
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Decorated by the Government of Peru, President Fernando Belaúnde Terry

Distinction Orden El Sol del Perú, Comendador, 1985, From the collection of: Pérez Celis - Museo Virtual
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Caretas Review, E.A.F., 1985, From the collection of: Pérez Celis - Museo Virtual
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Gran dinámica, Pérez Celis, 1985, From the collection of: Pérez Celis - Museo Virtual
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Exhibition Antes y Ahora, Centro Cultural Recoleta, 1985, From the collection of: Pérez Celis - Museo Virtual
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La Razón newspaper, B.O., 1985, From the collection of: Pérez Celis - Museo Virtual
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Archive file Archive file, 1985, From the collection of: Pérez Celis - Museo Virtual
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Archive file, From the collection of: Pérez Celis - Museo Virtual
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Recoleta Cultural Center

Buenos Aires, Argentina

Hombre del Mundo Review Hombre del Mundo Review, Oscar R. Orgallez, 1985, From the collection of: Pérez Celis - Museo Virtual
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Hombre del Mundo Review, Oscar R. Orgalles, From the collection of: Pérez Celis - Museo Virtual
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Hombre del Mundo Review, Oscar R. Orgalles, From the collection of: Pérez Celis - Museo Virtual
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Pasaje del tiempo, Pérez Celis, 1985, From the collection of: Pérez Celis - Museo Virtual
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Unión indistinguible, Pérez Celis, 1985, From the collection of: Pérez Celis - Museo Virtual
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Lo eterno en el mundo, Pérez Celis, 1985, From the collection of: Pérez Celis - Museo Virtual
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Archive picture, 1985, From the collection of: Pérez Celis - Museo Virtual
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Without title, Pérez Celis, 1985, From the collection of: Pérez Celis - Museo Virtual
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Exhibition in the Virginia Miller Gallery Exhibition in the Virginia Miller Gallery, 1985, From the collection of: Pérez Celis - Museo Virtual
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Virginia Miller Gallery, Miami, USA

Exhibition in the Virginia Miller Gallery, 1985, From the collection of: Pérez Celis - Museo Virtual
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Virginia Miller Gallery, Miami USA

Los inmortales, Pérez Celis, 1985, From the collection of: Pérez Celis - Museo Virtual
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Collection Central Park Building

Buenos Aires, Argentina

En manos del poder, Pérez Celis, 1985, From the collection of: Pérez Celis - Museo Virtual
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Contrastes Visuales. Catalogue Secretaria de Cultura de la Nación, Pérez Celis, 1986, From the collection of: Pérez Celis - Museo Virtual
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Archive picture (1986)Pérez Celis - Museo Virtual

Origins I, Pérez Celis, 1986, From the collection of: Pérez Celis - Museo Virtual
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Origins II, Pérez Celis, 1986, From the collection of: Pérez Celis - Museo Virtual
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Origins III, Pérez Celis, 1986, From the collection of: Pérez Celis - Museo Virtual
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Newspaper Clarín Review, 1986, From the collection of: Pérez Celis - Museo Virtual
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Crossing spaces I, Pérez Celis, 1986, From the collection of: Pérez Celis - Museo Virtual
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Crossing spaces III, Pérez Celis, 1986, From the collection of: Pérez Celis - Museo Virtual
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Magnetic aura, Pérez Celis, 1986, From the collection of: Pérez Celis - Museo Virtual
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Exhibition Catalog of Ex-Resident Artists of Cangallo 1227, Osvaldo Giesso, 1986, From the collection of: Pérez Celis - Museo Virtual
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To be a true archery master, technical mastery is not enough. It is necessary to surpass this aspect, of chance, the mastery must becomes "art without artifice" emanating from the unconscious. D. T. Suzuki

Transformaciones, Pérez Celis, 1986, From the collection of: Pérez Celis - Museo Virtual
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Archive file, 1986, From the collection of: Pérez Celis - Museo Virtual
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Other levels, Pérez Celis, 1986, From the collection of: Pérez Celis - Museo Virtual
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Mensajes telepáticos, Pérez Celis, 1986, From the collection of: Pérez Celis - Museo Virtual
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Inscribed stones (1986) by Pérez CelisPérez Celis - Museo Virtual

Memoria submergida, Pérez Celis, 1986, From the collection of: Pérez Celis - Museo Virtual
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Dinámica transformadora, Pérez Celis, 1986, From the collection of: Pérez Celis - Museo Virtual
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La voz del profeta, Pérez Celis, 1986, From the collection of: Pérez Celis - Museo Virtual
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Gainesville Sun Newspaper, Benita Budo, 1986, From the collection of: Pérez Celis - Museo Virtual
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Displacement, Pérez Celis, 1986, From the collection of: Pérez Celis - Museo Virtual
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Displacement II, Pérez Celis, 1986, From the collection of: Pérez Celis - Museo Virtual
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Fuga, Pérez Celis, 1986, From the collection of: Pérez Celis - Museo Virtual
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Poder nuclear, Pérez Celis, 1986, From the collection of: Pérez Celis - Museo Virtual
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The confrontation of planes mentioned by Frank becomes literal in the mid-eighties. In paintings such as Displacement II (1982) or Nuclear Power (1986), Celis divides the plastic surface between two stretchers and overlaps them in order to generate a concrete spatial conflict due to the continuity of some lines or forms from a plane to the next. Tensions, freed energy, vibrations, dynamism, characterize the work of these years.
Rodrigo Alonso Without net .

Los que reciben mensajes, Pérez Celis, 1986, From the collection of: Pérez Celis - Museo Virtual
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The context has a confusing interpretation of these works. Because in the middle of the triumphal enthusiasm of Italian Transavantgarde and neo-expresionists, the interpretations of his paintings lead to rushed and mislead conclusions. In May 1987, while he has a solo exhibition in New York (3), Marian Goodman Gallery exhibits Anselm Kiefer works and Sperone Westwater Gallery presents an individual show of Sandro Chia (4) . On the occasion of his second solo show in that city, the critic Anselmo Conde calls Celis the “Latin abstract neo-expresionist” . But that’s not the road chosen by the Argentinian artist, who permanently evades any stylistic classification. That’s how Rafael Squirru also understands it: "As it happens in the famous action-paintings, each work is a place where the existential anguishes and their answers. But Pérez Celis, who’s different from the American artists, even though he healthily registers his stay in New York, he keeps structures that talk to us about his fidelity to our American conscience (6) ". Rodrigo Alonso Without net .

New York Times, 1987, From the collection of: Pérez Celis - Museo Virtual
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Exhibition catalogue Museum Rayo, 1986, From the collection of: Pérez Celis - Museo Virtual
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Omar Rayo Museum

Valle del Cauca, Colombia

Ascendentes, Pérez Celis, 1986, From the collection of: Pérez Celis - Museo Virtual
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Noticiero argentino, New York, Diario Noticiero Argentino, Diario Noticiero argentino, 1986, From the collection of: Pérez Celis - Museo Virtual
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Projections II, Pérez Celis, 1986, From the collection of: Pérez Celis - Museo Virtual
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Revista Vanidades Continental, 1986, From the collection of: Pérez Celis - Museo Virtual
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Inside the form I, Pérez Celis, 1986, From the collection of: Pérez Celis - Museo Virtual
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Imperative Imperative, Pérez Celis, 1986, From the collection of: Pérez Celis - Museo Virtual
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Imperative, From the collection of: Pérez Celis - Museo Virtual
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Entendimiento, Pérez Celis, 1986, From the collection of: Pérez Celis - Museo Virtual
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Exhibicion in Donald Wren Gallery, 1987, From the collection of: Pérez Celis - Museo Virtual
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Life zone, Pérez Celis, 1986, From the collection of: Pérez Celis - Museo Virtual
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El Periodista Newspaper, Pérez Celis, 1986, From the collection of: Pérez Celis - Museo Virtual
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Presencia del pasado, Pérez Celis, 1987, From the collection of: Pérez Celis - Museo Virtual
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Nuevo orden, Pérez Celis, 1987, From the collection of: Pérez Celis - Museo Virtual
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Planos descifrados, Pérez Celis, 1987, From the collection of: Pérez Celis - Museo Virtual
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Serpent man, Pérez Celis, 1987, From the collection of: Pérez Celis - Museo Virtual
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Exhibition in Ottawa, 1987, From the collection of: Pérez Celis - Museo Virtual
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Cultural Center Ottawa,Canada

Planos de conciencia, Pérez Celis, 1987, From the collection of: Pérez Celis - Museo Virtual
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Placa de Nazca rojo, Pérez Celis, 1987, From the collection of: Pérez Celis - Museo Virtual
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Angel Falls, Pérez Celis, 1987, From the collection of: Pérez Celis - Museo Virtual
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El Nacional Newspaper, Elizabeth Arauco, 1987, From the collection of: Pérez Celis - Museo Virtual
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Triángulo esférico, Pérez Celis, 1987, From the collection of: Pérez Celis - Museo Virtual
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Americas OEA Review Americas OEA Review, Rodolfo A. Windhausen, 1987, From the collection of: Pérez Celis - Museo Virtual
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Americas OEA Review, From the collection of: Pérez Celis - Museo Virtual
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Americas OEA Review, From the collection of: Pérez Celis - Museo Virtual
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Huantar, Pérez Celis, 1987, From the collection of: Pérez Celis - Museo Virtual
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Magnetismo, Pérez Celis, 1987, From the collection of: Pérez Celis - Museo Virtual
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Que unifica, Pérez Celis, 1987, From the collection of: Pérez Celis - Museo Virtual
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Archive picture, 1989, From the collection of: Pérez Celis - Museo Virtual
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Catalogue Gallery Donald Wren Catalogue Gallery Donald Wren, 1987, From the collection of: Pérez Celis - Museo Virtual
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Catalogue Gallery Donald Wren, Eugenia Cucalón, Frederick Ted Castle, From the collection of: Pérez Celis - Museo Virtual
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Catalogue Gallery Donald Wren, Frederick Ted Castle, From the collection of: Pérez Celis - Museo Virtual
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Pérez Celis with Superior forces, 1987, From the collection of: Pérez Celis - Museo Virtual
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Superior forces, Pérez Celis, 1987, From the collection of: Pérez Celis - Museo Virtual
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Detail

Invitation Exhibition in Panama, 1987, From the collection of: Pérez Celis - Museo Virtual
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Planos revelados, Pérez Celis, 1987, From the collection of: Pérez Celis - Museo Virtual
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Zona Abierta, Pérez Celis, 1987, From the collection of: Pérez Celis - Museo Virtual
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Archive picture (1987)Pérez Celis - Museo Virtual

Señales, Pérez Celis, 1987, From the collection of: Pérez Celis - Museo Virtual
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M&m Review, 1987, From the collection of: Pérez Celis - Museo Virtual
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Archive picture, 1987, From the collection of: Pérez Celis - Museo Virtual
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Letter from New York, 1987, From the collection of: Pérez Celis - Museo Virtual
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New York 1st Oct. 1987

After an academic start at the School of Fine Arts in Buenos Aires, the most European city in Latin America, the destiny led me to travel through the South American continent, first arriving in Bolivia crossing Lake Titicaca to Peru, getting to know Cuzco and Machu Picchu, where I reencountered images that the critique in Argentina was beginning to point out in my work, as an art with American Indigene roots. The images of our continent, incorporating the horizontal Pampa, the landscape by excellence Patagonian, adding to the different contemporary influences that came from Europe and North America, were the characteristics that accompanied my work during several years. Later installed in Paris for 6 years to realize my european experience I worked and exhibited until I felt that in Europe one could learn a lot, but undoubtedly was the past unlike America where from Patagonia to the Canada energy belongs to present time and looks to the future. All this energy has the vital center in New York, where I have been living for the last four years, continuing my pilgrimage across the continent. I believe that the American Earth emits the creative energy of our time. I feel the painting as expansions of own and universal consciences, visual manifestations of transmutation of energy througout the internal processes, of which we are not aware, until we visualize the consummate work. Pérez Celis

Arte Al Día Review, Horacio Gené, 1987, From the collection of: Pérez Celis - Museo Virtual
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La Gran Argentina, Pérez Celis, 1987, From the collection of: Pérez Celis - Museo Virtual
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LA Gran Argentina, in Monaco race

Venezuelan newspaper, 1988, From the collection of: Pérez Celis - Museo Virtual
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2001 News paper, From the collection of: Pérez Celis - Museo Virtual
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Poster, 1988, From the collection of: Pérez Celis - Museo Virtual
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Archive picture, 1988, From the collection of: Pérez Celis - Museo Virtual
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Placa de Nazca línea, Pérez Celis, 1988, From the collection of: Pérez Celis - Museo Virtual
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Escritura, Pérez Celis, 1988, From the collection of: Pérez Celis - Museo Virtual
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Zona activa II, Pérez Celis, 1988, From the collection of: Pérez Celis - Museo Virtual
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Regiones radiantes, Pérez Celis, 1988, From the collection of: Pérez Celis - Museo Virtual
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Otras edades, Pérez Celis, 1988, From the collection of: Pérez Celis - Museo Virtual
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La Capital Newspaper, 1988, From the collection of: Pérez Celis - Museo Virtual
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Área andina, Pérez Celis, 1988, From the collection of: Pérez Celis - Museo Virtual
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Somos Review, Orlando Barone, 1988, From the collection of: Pérez Celis - Museo Virtual
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Proceso Dinámico (1988) by Pérez CelisPérez Celis - Museo Virtual

Review Arte al Día, 1988, From the collection of: Pérez Celis - Museo Virtual
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Zona registrada, Pérez Celis, 1988, From the collection of: Pérez Celis - Museo Virtual
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Exhibition in Edith Baker Gallery, 1989, From the collection of: Pérez Celis - Museo Virtual
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Patio de la Madera

Rosario, Santa Fé, Argentina

Presencia transformadora, Pérez Celis, From the collection of: Pérez Celis - Museo Virtual
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Archive picture, 1988, From the collection of: Pérez Celis - Museo Virtual
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Book, Horacio Enrique Gené, 1988, From the collection of: Pérez Celis - Museo Virtual
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(Trazos) Sellados (Trazos) Sellados, 1988, From the collection of: Pérez Celis - Museo Virtual
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(Trazos) Sellados Pérez Celis painting (Trazos) Sellados, From the collection of: Pérez Celis - Museo Virtual
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Zen, Pérez Celis, 1988, From the collection of: Pérez Celis - Museo Virtual
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ARTINF Review, Raul Santana, 1988, From the collection of: Pérez Celis - Museo Virtual
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Registro Akasico, Pérez Celis, 1988, From the collection of: Pérez Celis - Museo Virtual
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Interno eterno, Pérez Celis, 1988, From the collection of: Pérez Celis - Museo Virtual
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Sur, Pérez Celis, 1988, From the collection of: Pérez Celis - Museo Virtual
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Profetic, Pérez Celis, 1988, From the collection of: Pérez Celis - Museo Virtual
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New York City Tribune, Anselmo Conde, 1988, From the collection of: Pérez Celis - Museo Virtual
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Pérez Celis book by Shapolsky Publisher, Frederik Ted Castle Peter Frank Rafael Squirru, 1988, From the collection of: Pérez Celis - Museo Virtual
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El diario Newspaper, Yasmín Monsalve Reaño, 1988, From the collection of: Pérez Celis - Museo Virtual
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Esta semana Newspaper, Orlando García Valverde, 1988, From the collection of: Pérez Celis - Museo Virtual
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Museum of Art and Contemporary Design

San José, Costa Rica

Archive File, Museo de Arte Contemporáneo, 1988, From the collection of: Pérez Celis - Museo Virtual
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La revista del mundo, Aida Corzo, 1988, From the collection of: Pérez Celis - Museo Virtual
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Nuestra sangre II, Pérez Celis, 1989, From the collection of: Pérez Celis - Museo Virtual
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Colección Museo Casa Rosada (Presidencia), Buenos Aires, Argentina

Nuestra sangre II. Óleo sobre madera y tela. Buenos Aires, 1989

Archive file, Pérez Celis, 1989, From the collection of: Pérez Celis - Museo Virtual
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The Review, 1989, From the collection of: Pérez Celis - Museo Virtual
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Lo Abismal Agua, Pérez Celis, 1989, From the collection of: Pérez Celis - Museo Virtual
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In fact, one of the most evident notes of Pérez Celis pictorial production since he arrived to New York is the velocity with which his interests, themes and plastic approximations change. The freedom finally found in this city lets him change all the time without having to renounce to himself. Thus, the temperamental dynamism at the beginnings of the eighties leads without conflicts to the quiet of paintings that explore the solid existence of certain symbols as the I-Ching hexagrams (Sereno-abismal, La gracia, Luminoso receptivo¸1989 entre otras) or the religious symbols ( the David Star and The cross in La razón de Occidente, 1990). Rodrigo Alonso Without red .

Fantomático, Pérez Celis, 1989, From the collection of: Pérez Celis - Museo Virtual
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La Epoca Newspaper, Alejandro Hoppe, 1989, From the collection of: Pérez Celis - Museo Virtual
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America in the brush of Pérez Celis, Thais Aguilar, 1989, From the collection of: Pérez Celis - Museo Virtual
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Tilcara, Pérez Celis, 1989, From the collection of: Pérez Celis - Museo Virtual
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Intipata, Pérez Celis, 1989, From the collection of: Pérez Celis - Museo Virtual
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Mundo flotante, Pérez Celis, 1989, From the collection of: Pérez Celis - Museo Virtual
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Half time, Pérez Celis, 1989, From the collection of: Pérez Celis - Museo Virtual
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Sacsahuaman, Pérez Celis, 1989, From the collection of: Pérez Celis - Museo Virtual
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El Oeste Newspaper, 1989, From the collection of: Pérez Celis - Museo Virtual
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Volare, Pérez Celis, 1989, From the collection of: Pérez Celis - Museo Virtual
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Colección Fundación Ortíz Gurdián Art Center

Léon, Nicaragua

Return to paradise (to John Lennon), Pérez Celis, 1989, From the collection of: Pérez Celis - Museo Virtual
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Later, he realizes a series on tango, The Beatles, memory, ecology, arts (music, dance, theatre, etc.), homages to Matisse and Borges. He also goes for sculpture production and public murals. His creative horizon expands unsuspectedly to the rhythm of his restless, curious and experimental personality.
Rodrigo Alonso Without net .

Cielo Padre, Pérez Celis, 1989, From the collection of: Pérez Celis - Museo Virtual
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Tensión rojo, Pérez Celis, 1989, From the collection of: Pérez Celis - Museo Virtual
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Rocas calientes (1989) by Pérez CelisPérez Celis - Museo Virtual