La Pampa, México, El Caribe

By Pérez Celis - Museo Virtual

Fundación Pérez Celis

A sniper painter by Rodrigo Alonso. “I am a sniper painter. I stayed away of tendencies and schools. My work is sustained by more than 10 years of career painting". Pérez Celis, 1971. Answer to an interview by Roque Escobar in "Pérez Celis From La Boca to Paris". Clarín Review, Buenos Aires, 31/10/1971.

Vida y Muerte diptych (1966) by Pérez CelisPérez Celis - Museo Virtual

Towards the end of the 60’s decade, Pérez Celis has already defined the general frame of his poetics and delimited a horizon of images and forms that drives him in the journey of creation. His travels through Latin-America and afterwards thru the Pampa lead him towards an exploration of space and of vernacular symbols that differentiate his artistic search from any other of the artists of his generation. His work corpus has already won the label of Americanism and is widely recognized in our country and in the rest of the world. The successive prizes and participations in Biennales and other international exhibitions trace his career when bordering the age of 30. Nevertheless, attentive to his time, his works reflect the profound changes that burst around him.
The arrival of the mass media with their load of vibrant images, the development of pop art, the spreading of technology, the space career and its correlative relation with the science fiction cinema, the hippy movement and its demands of a radical liberty as well as the social conflicts of the Vietnam War, leave a permanent mark in the life and the sensibility of the members of this historic movement, so unique, and in a way permeates the unstoppable production of the Argentinean artist.

From the Earth reaching for the Sun, 1966, From the collection of: Pérez Celis - Museo Virtual
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Drawing (1966) by Pérez CelisPérez Celis - Museo Virtual

Facing these circumstances, Pérez Celis adopts a very optimistic attitude. He declares in an interview for Crónica Newspaper on his voyage to U.S.A.:
"The very day I arrived I witnessed the march of the hippies towards the Pentagon. I was deeply impressed by the demonstration of that youth, who let their hair grow long, that lives dirty and intentionally abandoned, but also is cannon-fodder for sterile wars. They were preaching for peace in their own way, starting a campaign in favor of love….. There, I realized that my painting has as one of its purposes to communicate with young people. I wish to show the positive aspects of the world, that by the way, improved quite a lot in spite of the trouble" (II). This optimism incarnates in his impassioned chromatism as the 1960 decade finishes and the next one starts. The replacement of the oil by acrylic produces surfaces increasingly even and give to the figures a flat and synthetic status, reminiscent of graphics, with a finishing that hides the gestural marks. Manos al sol (1967) or Alas al tiempo (1967) retain the significant forms of the native cultures of the South America, but they come very close as chromatism and style to the schematics of the pop artists.

Manos al Sol, Pérez Celis, 1967, From the collection of: Pérez Celis - Museo Virtual
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Manos al Sol

Drawing inspired by La Pampa (1967) by Pérez CelisPérez Celis - Museo Virtual

"Each period in Art History - guarantees the artist – berries the death of the previous one. But this is a death that leads to renovation. In my case, I realized that instinctively I started to be more connected with graphics: with the pigments, the way of facing the painting, that was a bit influenced by the pop art and other things that were showing up". (II)

Alas al tiempo (1967) by Pérez CelisPérez Celis - Museo Virtual

This contact with graphic art it is not forced as Pérez Celis had worked as a graphic designer, and during these years he also produces murals and tapestry. Through them he establishes a link with the popular art and everyday life that makes his approximation to pop not an uncritical adoption of an alien esthetics, but rather, a genuine relationship with his vital milieu.

Alas al tiempo

Serigraph (1967) by Pérez CelisPérez Celis - Museo Virtual

As a matter of facts it should be wrong to consider the works of Pérez Celis from this period as pop. The pop is basically urban, metropolitan, while Celis work draws his sources from the native settlements from La Pampa. The pop identifies the popular with the consumer society whereas Celis finds them in the forms and products of our native communities. The pop is flat and superficial, while Celis paintings aim at the profoundness and the spirit. Anyway if something from this artistic current attracts our artist, probably it is the absolute freedom at the time of creation (as pop does not understand the art as the result of a stylistic evolution), its esthetic innovations (the impassioned chromatism, the immediateness in acrylic painting, the reminiscences of graphics, etc.) and the openness to explore the possibilities of the consciousness (that is perceived in the movement of the psychedelic culture).

Catalogue Exhibition in Pan American Union (OAS) Catalogue Exhibition in Pan American Union (OAS), From the collection of: Pérez Celis - Museo Virtual
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Catalogue Exhibition in Pan American Union (OAS), José Gómez Sicre, 1967, From the collection of: Pérez Celis - Museo Virtual
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Text José Gómez Sicre Director Visual Arts

Art Museum of the Americas. Pan American Union (OEA)

Exhibition. Washington, 1967

De tierra cósmica, Pérez Celis, 1967, From the collection of: Pérez Celis - Museo Virtual
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Collection Embassy of Argentina in Washington D.C. United States

De Tierra Cósmica. Acrylic on canvas. Buenos Aires, Argentina, 1967

Serie pampeana, Pérez Celis, 1967, From the collection of: Pérez Celis - Museo Virtual
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Catalogue Exhibition in Pan American Union (OAS) Archive picture, 1967, From the collection of: Pérez Celis - Museo Virtual
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Sara, Pérez Celis and Rafael Squirru in Washington

Revista Vosotras, Inés Manilow, 1967, From the collection of: Pérez Celis - Museo Virtual
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Without title, Pérez Celis, 1967, From the collection of: Pérez Celis - Museo Virtual
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Misa Criolla serie, Pérez Celis, 1967, From the collection of: Pérez Celis - Museo Virtual
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Without title, Pérez Celis, 1967, From the collection of: Pérez Celis - Museo Virtual
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Cruz tiempo (1967) by Pérez CelisPérez Celis - Museo Virtual

The acrylic paint in the 60s was a new media, represented the new, taking over the traditional paint. Pérez Celis brings it back with him from his first voyage to Washington.
In an interview in Mexico, in 1984, after years of using acrylic paint, he answered the question of why he was using it. Pérez Celis explained:
“The acrylic paint give us the color of our time, it shows our perception of color, which clearly has changed. We must not forget that through the neon lights, the technicolor movie, and even our clothes, we see that the perception of color is different. I think than, that precisely the acrylic gives us this new vision. Probably, this type of color, used 30 years ago, would have chocked us much more. On top of everything this paint enables a speedier technique to elaborate the work thus coinciding with our time. It is well known that the present art reaches more people, that there is more access, while before the works belonged to a few. Under those circumstances, a painter could maybe paint a work for 15 years , while now does more than 15 a year."

Cruz al tiempo, Pérez Celis, 1967, From the collection of: Pérez Celis - Museo Virtual
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Americas Review - Organization of American States Washington Americas Review - Organization of American States Washington, Fernando Demaría, 1967, From the collection of: Pérez Celis - Museo Virtual
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Americas Review - Organization of American States Washington, Fernando Demaría, 1967, From the collection of: Pérez Celis - Museo Virtual
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Serigraph, Pérez Celis, 1967, From the collection of: Pérez Celis - Museo Virtual
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Press clip, 1967, From the collection of: Pérez Celis - Museo Virtual
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Cruz América, Pérez Celis, 1967, From the collection of: Pérez Celis - Museo Virtual
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Press clip, 1967, From the collection of: Pérez Celis - Museo Virtual
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Catalogue Misa Criolla Rubbers Gallery, 1967, From the collection of: Pérez Celis - Museo Virtual
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La serpiente y la cruz, Pérez Celis, 1967, From the collection of: Pérez Celis - Museo Virtual
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Pampa Roja, Pérez Celis, 1968, From the collection of: Pérez Celis - Museo Virtual
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Cruz América (1967) by Pérez CelisPérez Celis - Museo Virtual

The psychedelics and its search for going beyond ordinary reality find some echoes in the paintings from this period. According to Maria Jose Herrera, the movie 2001 The Space Odyssey (1969) by Stanley Kubrick, has had a singular impact on the artist; in it “Celis saw a vertigo of images,similar to his own, a centrifuge sensation of space, similar to the one that he had developed in the works of that time” (III). The space in paintings as Paisaje extemporal (1968) or Homenaje a Rafael Squirru (1968) keep indeed an astonishing similarity with the famous scene of tunnel in the above mentioned film, inspired in the psychedelic visions of John Whitney’s researches.

Paisaje Ideal (1968) by Pérez CelisPérez Celis - Museo Virtual

Nevertheless Celis finds this cosmic space in a place far closer: the endless extensions of the Pampa’s plains. In his own words: "I am trying to express the huge telluric force that irradiates in this region of our country. La Pampa is the best starting point to enunciate the American. In some way Argentina is already – through the infinite Pampa- within the space that cosmonauts talk about" (IV).

Collection, Museum of Modern Art,Buenos Aires

Paisaje Ideal. Acrylic on canvas. Buenos Aires, 1968

Estilo Review, Fernando de María, 1968, From the collection of: Pérez Celis - Museo Virtual
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Carpet design Pérez Celis, Pérez Celis, 1968, From the collection of: Pérez Celis - Museo Virtual
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El Tiempo Bogotá Newspaper, 1968, From the collection of: Pérez Celis - Museo Virtual
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Museum of Contemporary Art, Bogotá, Colombia

Serigraph, Pérez Celis, 1968, From the collection of: Pérez Celis - Museo Virtual
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El Tribuno Salta Newspaper, 1968, From the collection of: Pérez Celis - Museo Virtual
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Paisaje extemporal, Pérez Celis, 1968, From the collection of: Pérez Celis - Museo Virtual
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Paisaje extemporal

Collection Hotel Dorá Buenos Aires

Paisaje extemporal. Acrylic on canvas. Buenos Aires, 1968

De La Pampa al Sur (1968) by Pérez CelisPérez Celis - Museo Virtual

This space it is far away from the tradition of landscape; we can almost say that it is located at the antipodes. Because Perez Celis does not try to recreate the resemblances of the elemental fields, but their emotional and symbolic effects. The Venezuelan critic Roberto Guevara describes the works of this period as follows: "His work is a fantastic version of layers, phosphorescent landscapes, odd synthesis of primeval shapes that far from forming in its wholeness an abstract composition, eventually, are paintings that are brimming chromatic incandescence, poetic visions that remind more the instinct than the geometry" (V).

Encyclopedia of Arts in America, Vicente Gesualdo, 1968, From the collection of: Pérez Celis - Museo Virtual
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El sol al encuentro de su fuerza, Pérez Celis, 1969, From the collection of: Pérez Celis - Museo Virtual
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Buenos Aires Herald, 1969, From the collection of: Pérez Celis - Museo Virtual
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Nadir, Pérez Celis, 1969, From the collection of: Pérez Celis - Museo Virtual
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Collection Provincial Museum of Fine Arts Emilio Pettoruti

Nadir. Acrylic on canvas. Buenos Aires, 1969

América extemporal, Pérez Celis, 1969, From the collection of: Pérez Celis - Museo Virtual
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La serpiente llega a la luz, Pérez Celis, 1969, From the collection of: Pérez Celis - Museo Virtual
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El dios astronauta Cover of the Review 2001, Pérez Celis, 1969, From the collection of: Pérez Celis - Museo Virtual
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Encuentro con la luz, Pérez Celis, 1969, From the collection of: Pérez Celis - Museo Virtual
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Lo más importante de las puertas es el hueco, Pérez Celis, 1969, From the collection of: Pérez Celis - Museo Virtual
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Iluminación sobre la pirámide del tiempo, Pérez Celis, 1969, From the collection of: Pérez Celis - Museo Virtual
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Pérez Celis in his house in La Boca district, 1969, From the collection of: Pérez Celis - Museo Virtual
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Self portrait no human, Pérez Celis, 1969, From the collection of: Pérez Celis - Museo Virtual
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Artiempo, Enrique Monzon, 1969, From the collection of: Pérez Celis - Museo Virtual
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Mercado Review, 1969, From the collection of: Pérez Celis - Museo Virtual
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The first Engravings Museum is born, Reuquecura 3 rd Prize LVII Plastic Arts National Show

Gente Review, 1969, From the collection of: Pérez Celis - Museo Virtual
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Foto Mundo Review, Feliciano Jeanmart, 1970, From the collection of: Pérez Celis - Museo Virtual
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Perez Celis portrait , first prize "Personality " Show Picture by Feliciano Jeanmart

Paisaje blanco, Pérez Celis, 1969, From the collection of: Pérez Celis - Museo Virtual
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The series of white paitings was the result of the impression caused by a strong snowfall in Quemú Quemú La Pampa.The technique used was to saturate all the colors to white

Misión propria Contruccion -Transformación, Pérez Celis, 1970, From the collection of: Pérez Celis - Museo Virtual
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Interludio eterno, Pérez Celis, 1970, From the collection of: Pérez Celis - Museo Virtual
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El sendero homenaje a Ricardo Güiraldes El sendero homenaje a Ricardo Güiraldes, 1970, From the collection of: Pérez Celis - Museo Virtual
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Tribute to Ricardo Güiraldes

El sendero homenaje a Ricardo Güiraldes Raices Review, M.S., 1970, From the collection of: Pérez Celis - Museo Virtual
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Al encuentro del camino, Pérez Celis, 1970, From the collection of: Pérez Celis - Museo Virtual
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Al encuentro del camino
3rd Prize National Fine Arts Show

Homenaje a Rafael Squirru, Pérez Celis, 1970, From the collection of: Pérez Celis - Museo Virtual
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Tribute to Rafael Squirru

Exhibition Galería Integra Exhibition Galería Integra, 1970, From the collection of: Pérez Celis - Museo Virtual
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Exhibition Galería Integra La Nación Newspaper, Rafael Squirru, 1970, From the collection of: Pérez Celis - Museo Virtual
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Redescubrimiento pampeano, Pérez Celis, 1971, From the collection of: Pérez Celis - Museo Virtual
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El adiós del indio, Pérez Celis, 1971, From the collection of: Pérez Celis - Museo Virtual
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Nuestra razón (1971) by Pérez CelisPérez Celis - Museo Virtual

"My symbology and sign repertoire ripened, developed. It does not circumscribe any longer to the primitive elements of remote civilizations, but conquers the territory of the new one, the less known, of the space. The cosmic" (VI).

Folk ensemble, Pérez Celis, 1971, From the collection of: Pérez Celis - Museo Virtual
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Pérez Celis with carpet (1971) by Pérez CelisPérez Celis - Museo Virtual

Hand made carpet done by Sara , his wife

Siete Días Review Siete Días Review, 1971, From the collection of: Pérez Celis - Museo Virtual
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Siete Días Review, Roque Escobar, From the collection of: Pérez Celis - Museo Virtual
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Siete Días Review, Roque Escobar, From the collection of: Pérez Celis - Museo Virtual
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Siete Días Review, Roque Escobar, From the collection of: Pérez Celis - Museo Virtual
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Centro compartido, Pérez Celis, 1971, From the collection of: Pérez Celis - Museo Virtual
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Vientos fuertes del Sur, Pérez Celis, 1971, From the collection of: Pérez Celis - Museo Virtual
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Paisaje y resurrección, Pérez Celis, 1971, From the collection of: Pérez Celis - Museo Virtual
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Encuentro al Sur (1971) by Pérez CelisPérez Celis - Museo Virtual

The titles acquire an evocative characteristic “Paisaje y resureccion /Lanscape and resurrection “(1971) ” Oraculo del Sol/ Sun Oracle “(1973)’ Viaje imaginario /Imaginary voyage “(1974) “Alturas secretas/Secret heights "(1974)warn about the secret connexion between space and its spiritual projections. The Americanist references dilute into configurations of planes, lines and colors that impact straightforward into perception, through powerful and rhythmic structures and vibrant chromatic effects.

Hacer la luz, Pérez Celis, 1971, From the collection of: Pérez Celis - Museo Virtual
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Paisaje interior, Pérez Celis, 1971, From the collection of: Pérez Celis - Museo Virtual
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Nuestro sueño, Pérez Celis, 1971, From the collection of: Pérez Celis - Museo Virtual
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An art of american inspiration, Rafael Squirru, 1971, From the collection of: Pérez Celis - Museo Virtual
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Mural, Pérez Celis, 1971, From the collection of: Pérez Celis - Museo Virtual
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Mural 2417 Jorge Luis Borges Street, Buenos Aires, Argentina

Calle Jorge Luis Borges 2417, Buenos Aires, Argentina

Pérez Celis America confesses, A.V., 1971, From the collection of: Pérez Celis - Museo Virtual
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Un mundo para todos, Pérez Celis, 1972, From the collection of: Pérez Celis - Museo Virtual
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Collection National Fund for Arts. Buenos Aires, Argentina

Un mundo para todos. Acrylic on canvas. 1972, Buenos Aires

Pérez Celis with Todos juntos la multiplicación, 1972, From the collection of: Pérez Celis - Museo Virtual
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Archive file (1972)Pérez Celis - Museo Virtual

Todos juntos la multiplicación, Pérez Celis, 1972, From the collection of: Pérez Celis - Museo Virtual
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Todo estará visible, Pérez Celis, 1972, From the collection of: Pérez Celis - Museo Virtual
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Anticipación, Pérez Celis, 1972, From the collection of: Pérez Celis - Museo Virtual
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Anticipación

Más alto más arriba, Pérez Celis, 1972, From the collection of: Pérez Celis - Museo Virtual
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El ojo de América, Pérez Celis, 1972, From the collection of: Pérez Celis - Museo Virtual
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Horizonte extemporal, Pérez Celis, 1972, From the collection of: Pérez Celis - Museo Virtual
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Nuestra tarde, Pérez Celis, 1972, From the collection of: Pérez Celis - Museo Virtual
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Pérez Celis with Sol Nuestro en Tierra Colorada, 1972, From the collection of: Pérez Celis - Museo Virtual
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Collection Foundation Bunge & Born

El Sol Nuestro en Tierra Colorada. Acrylic on canvas. Buenos Aires, 1972

Mercado Review, 1972, From the collection of: Pérez Celis - Museo Virtual
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Aquisition Award National Plastic Arts Show

Book Pérez Celis by Rafael Squirru, Rafael Squirru, 1972, From the collection of: Pérez Celis - Museo Virtual
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La Nación Newspaper, Rafael Squirru, 1973, From the collection of: Pérez Celis - Museo Virtual
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Primera variación de mensajeros de la eternidad, Pérez Celis, 1972, From the collection of: Pérez Celis - Museo Virtual
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Escuchar la voz, Pérez Celis, 1972, From the collection of: Pérez Celis - Museo Virtual
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Un horizonte para todos (1972) by Pérez CelisPérez Celis - Museo Virtual

Collection National Fund for Arts. Buenos Aires, Argentina

Un horizonte para todos (diptych). Acrylic on canvas. 1972, Buenos Aires, Argentina

Pampa nuestra, Pérez Celis, 1972, From the collection of: Pérez Celis - Museo Virtual
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Gente Magazine, 1972, From the collection of: Pérez Celis - Museo Virtual
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Antena Review, 1972, From the collection of: Pérez Celis - Museo Virtual
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Gardel 2000, Pérez Celis, 1972, From the collection of: Pérez Celis - Museo Virtual
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La Razón Newspaper, Hernández Rousselot, 1972, From the collection of: Pérez Celis - Museo Virtual
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Catalogue Exhibition in Wildenstein Catalogue Exhibition in Wildenstein, From the collection of: Pérez Celis - Museo Virtual
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Catalogue Exhibition in Wildenstein, Federico Augusto Martino, 1972, From the collection of: Pérez Celis - Museo Virtual
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Theater Poster "The witches of Salem", Pérez Celis, 1972, From the collection of: Pérez Celis - Museo Virtual
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Destino Pájaro, Pérez Celis, 1973, From the collection of: Pérez Celis - Museo Virtual
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Pintura, Pérez Celis, 1973, From the collection of: Pérez Celis - Museo Virtual
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Tiempo de Sol, Pérez Celis, 1973, From the collection of: Pérez Celis - Museo Virtual
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Collection Argentinean Foreign Affairs Ministery

Tiempo de Sol. Acrylic on canvas. 1973. Buenos Aires, Argentina

Que tu fuerza nos llegue, Pérez Celis, 1973, From the collection of: Pérez Celis - Museo Virtual
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Recuerdo pampeano, Pérez Celis, 1973, From the collection of: Pérez Celis - Museo Virtual
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Sin título, Pérez Celis, 1973, From the collection of: Pérez Celis - Museo Virtual
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Pérez Celis visual sonority Pérez Celis visual sonority, 1973, From the collection of: Pérez Celis - Museo Virtual
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Pérez Celis visual sonority, From the collection of: Pérez Celis - Museo Virtual
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Todo es posible, todo existe, Pérez Celis, 1973, From the collection of: Pérez Celis - Museo Virtual
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Muerte en la catedral, Pérez Celis, 1973, From the collection of: Pérez Celis - Museo Virtual
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Arquitectura e Ingeniería Review Arquitectura e Ingeniería Review, Marta Traba, 1973, From the collection of: Pérez Celis - Museo Virtual
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Arquitectura e Ingeniería Review, From the collection of: Pérez Celis - Museo Virtual
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Oraculo del sol, Pérez Celis, 1973, From the collection of: Pérez Celis - Museo Virtual
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Oráculo del sol

El Sol Newspaper, 1974, From the collection of: Pérez Celis - Museo Virtual
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El Nacional Newspaper, Roberto Guevarra, 1974, From the collection of: Pérez Celis - Museo Virtual
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Pintura (1974) by Pérez CelisPérez Celis - Museo Virtual

Viaje Imaginario, Pérez Celis, 1974, From the collection of: Pérez Celis - Museo Virtual
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Viaje imaginario

Van Gogh en América, Pérez Celis, 1974, From the collection of: Pérez Celis - Museo Virtual
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Catalogue Exhibition in Arvil Gallery Mexico, Photography Daphne Dougall de Zileri, 1974, From the collection of: Pérez Celis - Museo Virtual
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Photography by Daphne Dougall de Zileri

Self portrait to observe the Jury, Pérez Celis, 1974, From the collection of: Pérez Celis - Museo Virtual
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Self portrait to observe The Jury, last paiting sent to the National Plastic Arts Show

Archive picture (1974)Pérez Celis - Museo Virtual

El Universal Newspaper, Rosas Jimenez, 1974, From the collection of: Pérez Celis - Museo Virtual
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Public work for Aerolíneas Argentinas, Pérez Celis, 1974, From the collection of: Pérez Celis - Museo Virtual
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Public work for Aerolíneas Argentinas, Pérez Celis, 1974, From the collection of: Pérez Celis - Museo Virtual
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Archive picture (1974) by Ernesto Regales Blow-up StudíoPérez Celis - Museo Virtual

Club de Las América Review Cover, Pérez Celis, 1974, From the collection of: Pérez Celis - Museo Virtual
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Puertas al tiempo, Pérez Celis, 1974, From the collection of: Pérez Celis - Museo Virtual
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Sin título, Pérez Celis, 1974, From the collection of: Pérez Celis - Museo Virtual
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El Nacional Review, Marco Antonio Acosta, 1974, From the collection of: Pérez Celis - Museo Virtual
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Without title, Pérez Celis, 1974, From the collection of: Pérez Celis - Museo Virtual
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Hermano Americano, Pérez Celis, 1974, From the collection of: Pérez Celis - Museo Virtual
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Press Clip, 1974, From the collection of: Pérez Celis - Museo Virtual
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Diorama de la Cultura, Juan Acha, 1974, From the collection of: Pérez Celis - Museo Virtual
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7 Días Review, 1974, From the collection of: Pérez Celis - Museo Virtual
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Gente Review Gente Review, From the collection of: Pérez Celis - Museo Virtual
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Gente Review, Manuel Caldeiro, 1975, From the collection of: Pérez Celis - Museo Virtual
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Caretas Review, 1974, From the collection of: Pérez Celis - Museo Virtual
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Rosa Alquímica, Pérez Celis, 1974, From the collection of: Pérez Celis - Museo Virtual
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Osatura lateral, Pérez Celis, 1974, From the collection of: Pérez Celis - Museo Virtual
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Alturas secretas, Pérez Celis, 1975, From the collection of: Pérez Celis - Museo Virtual
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Al amparo de nuestro disco solar, Pérez Celis, 1975, From the collection of: Pérez Celis - Museo Virtual
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Atravesar fronteras de los pájaros, Pérez Celis, 1975, From the collection of: Pérez Celis - Museo Virtual
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Preludio, Pérez Celis, 1975, From the collection of: Pérez Celis - Museo Virtual
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El pájaro de la fertilidad, Pérez Celis, 1975, From the collection of: Pérez Celis - Museo Virtual
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Nevertheless, mid-seventies, the original elements return in the paintings of Perez Celis, mainly through figures of an allegoric fauna. Ascenso y descenso indamericano ,Homenaje a Leopoldo Marechal (1975) Pájaro de la eternidad (1976) Parahansa-Gran cisne sagrado, are a few that testimony this work series.

El diario de Río Negro Newspaper, Pérez Celis, 1975, From the collection of: Pérez Celis - Museo Virtual
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Ascenso y descenso indoamericano, Pérez Celis, 1975, From the collection of: Pérez Celis - Museo Virtual
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Ascenso y descenso indoamericano
Tribute to Léopoldo Marechal

El diario de Río Negro Newspaper, Leon Benaros, 1975, From the collection of: Pérez Celis - Museo Virtual
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América la elección del despertar (1975) by Pérez CelisPérez Celis - Museo Virtual

América la elección del despertar

The painting that, according to his manifestation, was most time consuming to achieve, having the premonition that his life was about to change. Driving to Rosario they had a car accident, his wife Sara died and he was intubated for several months. Over the turtle's shell he had painted a woman's shattered body.

"The spiral coming out of the heart represents the Man who turns back to himself, to his own center, who projects his emotions on the innermost core of his being, willing to unlock the jail of his material confinement and reach his inner freedom and his right to fully participate in Universal life". Guillermo Nazar

Poemas endovenosos, 1975, From the collection of: Pérez Celis - Museo Virtual
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Poetry book by Carlos Maria Caron, drawings by Pérez Celis, after Sara' s death.

Por la memoria de otros tiempos, Pérez Celis, 1976, From the collection of: Pérez Celis - Museo Virtual
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Otros horizontes para nuestros pájaros escondidos, Pérez Celis, 1976, From the collection of: Pérez Celis - Museo Virtual
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Aprender a volar, Pérez Celis, 1976, From the collection of: Pérez Celis - Museo Virtual
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Retrato (1976) by Pérez CelisPérez Celis - Museo Virtual

Portrait of Osvaldo Giesso

The idea of sacred becomes more and more important but without any referral to specific religious or spiritual doctrine. It rather looks like a search of sacred personified in the plastic matter itself. There is a return to textured surfaces and chiaroscuro suggesting mysterious and secret spaces.
“De lo material a lo spiritual (1977) Mitología sagrada (1977) En las cosas sagradas(1978) are some of the works that mark this new course, that coincides with the move to Venezuela, where he sets temporarily his residence.

Paramahansa (Gran cisne sagardo), Pérez Celis, 1976, From the collection of: Pérez Celis - Museo Virtual
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Paramahansa Gran cisne sagrado

Pájaro de la eternidad, Pérez Celis, 1976, From the collection of: Pérez Celis - Museo Virtual
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El pájaro de la eternidad

El silencio de nuestros pájaros atraviesa lo desconocido (1976) by Pérez CelisPérez Celis - Museo Virtual

Otros soles, Pérez Celis, 1976, From the collection of: Pérez Celis - Museo Virtual
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Resplandor de un grito, Pérez Celis, 1976, From the collection of: Pérez Celis - Museo Virtual
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Self portrait, Pérez Celis, 1976, From the collection of: Pérez Celis - Museo Virtual
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Clarín Newspaper, Alfredo J. De Los Santos, 1977, From the collection of: Pérez Celis - Museo Virtual
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Porcelana Hartford Porcelana Hartford, 1976, From the collection of: Pérez Celis - Museo Virtual
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Porcelana Hartford Arte Artesanía Industrial Catalogue, From the collection of: Pérez Celis - Museo Virtual
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Porcelana Hartford Arte Artesanía Industrial Catalogue, From the collection of: Pérez Celis - Museo Virtual
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El Nacional Newspaper, 1977, From the collection of: Pérez Celis - Museo Virtual
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La presencia vertical (1977) by Pérez CelisPérez Celis - Museo Virtual

Since he lives in Venezuela – underlines Roberto Montero Castro – his painting experienced various changes. The color pallet got lighter, has brighter primary [colors] and his earthly [colors] are warmer. As regards the structure of the image, Perez Celis is working with overlapping planes, in advancing space. Now there is a prominent diagonal disposition in his geometrical forms, compensated by verticals. The horizontal line is barely present.(VIII)

Buenos Aires Herald, Thelia Conrad de Behar, 1977, From the collection of: Pérez Celis - Museo Virtual
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Mutaciones de la conciencia (1977) by Pérez CelisPérez Celis - Museo Virtual

“There are three Americas. The euro (Argentina, Chile, Uruguay) Indo (Mexico, Bolivia, Peru) and Afro (the Caribbean) but there is Venezuela, where all this is represented... Yes: I paint with acrylic, because it is more durable and less changeable. Venezuela, after a trip to Ciudad Bolívar, has made me paint with ochre, grey, I paint with less color than before less hot colors ; it is an evolution that I owe to Venezuela”. Pérez Celis interview in Nuevos Horizontes /Fígaro Caracas 22 July 1978

La sagrada protección, Pérez Celis, 1977, From the collection of: Pérez Celis - Museo Virtual
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Fuerzas luminosas (1977) by Pérez CelisPérez Celis - Museo Virtual

As a landscaper that is, Perez assumes the verticality that surrounds him in the same way as before made us participate in the pampean horizons that he traveled. Valid reference, the physical environment would be poor explanation to investigate the integral messages of his current art.
It is all Venezuela that is under his skin as it corresponds to the sensitive spirit of excellence that is the spirit of the artist.
Diario Horizonte Cultural. Caracas around 1978.

La fuerza de la contemplación, Pérez Celis, 1977, From the collection of: Pérez Celis - Museo Virtual
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Viasar Review Venezuela, From the collection of: Pérez Celis - Museo Virtual
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Viasar Review Venezuela Viasar Review Venezuela, 1977, From the collection of: Pérez Celis - Museo Virtual
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De extraordinarias fuentes (1977) by Pérez CelisPérez Celis - Museo Virtual

Sobre los signos, Pérez Celis, 1977, From the collection of: Pérez Celis - Museo Virtual
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Presencia de antepasados, Pérez Celis, 1977, From the collection of: Pérez Celis - Museo Virtual
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Collection Museum of Contemporary Art Junin,Buenos Aires Province , Argentina.

Presencia de antepasados, mixed media on canvas. 1977, Caracas, Venezuela

La imagen circular, Pérez Celis, 1977, From the collection of: Pérez Celis - Museo Virtual
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Cuando nació el cerro, Pérez Celis, 1977, From the collection of: Pérez Celis - Museo Virtual
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Venezuelan Review, Martin Bessega, 1977, From the collection of: Pérez Celis - Museo Virtual
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De lo material al espíritu, Pérez Celis, 1977, From the collection of: Pérez Celis - Museo Virtual
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Mensajes de la memoria, Pérez Celis, 1977, From the collection of: Pérez Celis - Museo Virtual
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Los que dejaron las huellas, Pérez Celis, 1977, From the collection of: Pérez Celis - Museo Virtual
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Poderes desconocidos (1977) by Pérez CelisPérez Celis - Museo Virtual

Pérez Celis with "The sun of Iberoamerica" Pérez Celis with "The sun of Iberoamerica", From the collection of: Pérez Celis - Museo Virtual
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Pérez Celis with "The sun of Iberoamerica" Pérez Celis with "The sun of Iberoamerica", Pérez Celis, 1977, From the collection of: Pérez Celis - Museo Virtual
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Pérez Celis with "The sun of Iberoamerica" The sun of Iberoamerica 30 years later, Pérez Celis, 2006, From the collection of: Pérez Celis - Museo Virtual
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Del libro de las mutaciones, Pérez Celis, 1977, From the collection of: Pérez Celis - Museo Virtual
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Del libro de las mutaciones (From the Book of Changes)
Pérez Celis had a certain fascination with The ( I Ching) Book of Changes. He dedicated a series of drawings in Paris and a series of paintings in New York

Tiempo de piedra, Pérez Celis, 1977, From the collection of: Pérez Celis - Museo Virtual
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Pérez Celis with De la ciudad perdida (1978)Pérez Celis - Museo Virtual

De la ciudad perdida, Pérez Celis, 1978, From the collection of: Pérez Celis - Museo Virtual
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En las cosas sagradas, Pérez Celis, 1978, From the collection of: Pérez Celis - Museo Virtual
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Lyra Review, Roberto Montero Castro, 1978, From the collection of: Pérez Celis - Museo Virtual
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Los fantasmas de nuestra conciencia, Pérez Celis, 1978, From the collection of: Pérez Celis - Museo Virtual
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Elevar los orígenes, Pérez Celis, 1978, From the collection of: Pérez Celis - Museo Virtual
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Antiguas leyes del espacio, Pérez Celis, 1978, From the collection of: Pérez Celis - Museo Virtual
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Tiempo vegetal, Pérez Celis, 1978, From the collection of: Pérez Celis - Museo Virtual
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Al dios desconocido, Pérez Celis, 1978, From the collection of: Pérez Celis - Museo Virtual
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Collection Museum of Contemporary Art, Bunos Aires, Argentina

Al dios desconocido Mixed media on canvas, Caracas, Venezuela 1978

Ecos del tiempo, Pérez Celis, 1978, From the collection of: Pérez Celis - Museo Virtual
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Horizonte Cultural, 1978, From the collection of: Pérez Celis - Museo Virtual
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La puerta de la libertad (1978) by Pérez CelisPérez Celis - Museo Virtual

Mensajes de aproximación, Pérez Celis, 1978, From the collection of: Pérez Celis - Museo Virtual
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