By Pérez Celis - Museo Virtual
Fundación Pérez Celis
It is important to be oneself and not let yourself be hypnotized by fashion or fame. You have to give the best of yourself in this competitive world. Giving the best without comparing to others is the only possible way not to obscure your own creative capacity.
Pérez Celis 1990.
When I paint I don't think of the result, neither in competing with other artists, nor in pleasing the public. If I do this I would cease to put all my attention, passion and love into what I am doing. I don't think an artist can explain his work or the work needs to be explained.
Pérez Celis 1990.
Collection Polly Ferman,
New York, USA.
Carpet for Collection Louis De Poortere.
Louis De Poortere
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Pérez Celis invited by IBM to the Annual Convention in Puerto Rico, along with Jorge Amado and Carlos Fuentes, representing Latin American art. 1990.
You can paint a circle, a splash, an apple or a landscape and transmit the essence and heritage of the Latin American spirit, which differentiates us from a French, German or North American artist.
The Latin American artist has in addition the great possibility to add the essence of his own culture to those that have been incorporated from Europe or the United States. This enables our enrichment and becomes something different and personal.
Pérez Celis, Puerto Rico 1990.
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Casa de Bastidas
Exhibition, Dominican Republic, Sto. Domingo. 1990.
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 quietness of paintings that explore the solid existence of certain symbols as the religious symbols ( the David Star and The cross in La razón de Occidente, 1990). Rodrigo Alonso, Without net.
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The Americas Collection Private and Corporate Fine arts dealers
Vuelos a Venus - Serigraph
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Nuestra Sangre Colección, Casa Rosada. Casa de Gobierno, Buenos Aires, Argentina.
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Traced territory (1992) by Pérez CelisPérez Celis - Museo Virtual
Pérez Celis, today master of the lights and fantastic greys of New York, is and will remain what the unforgettable Martha Traba, great critic of art who left before the time, wrote before dying on the personality of Pérez Celis: "The peculiarity of Pérez Celis is that he paints a geometry with" swing "cheerful and charming, but at the same time with depth, with hidden situations, with symbols to decipher and also - why not? with the cursed word for a painter, poetry.
Abil Peralta Agüero. Latin American Art. 1992.
Occult laws (1992) by Pérez CelisPérez Celis - Museo Virtual
Mayan presence (1992) by Pérez CelisPérez Celis - Museo Virtual
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Casa de la Cultura ecuatoriana - Benjamín Carrión
Exhibition. Ecuador, Quito. 1992.
Pérez Celis throws water on a canvas already painted with a motif. Without letting the water dry on the canvas, throws blue paint and gives brushstrokes to cover much of the background.” This is a technique that I discovered one day when I spilled water and paint on the floor and saw the effect that caused when running on the wood. A painter always finds something new in a mistake that has an unexpected effect. One has to be alert.”
Pérez Celis Interview Newspaper El Cronista, 1992
Logo of the Museum designed by Pérez Celis
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Museum of Modern Art Mendoza, Argentina
Exhibition Works of New York Mendoza, Argentina. 1992
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Collection Museum Amalia Lacroze De Fortabat
Piazzolando. Mixed media on canvas. 191 x 162 cm / 75 x 64 in. Buenos Aires, Argentina. 1995.
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Collection, Museo Municipal de Bellas Artes Juan B.Castanino. Rosario, Argentina
Nazca. Mixed media on canvas. 180 x 200 cm / 71 x 79 in. Buenos Aires, Argentina. 1994.
"I probably felt that just as I was painting something so dramatic, as death I had to paint something as exciting as life by the side." El Gran libro is an entity, life and death.
Pérez Celis in an Interview about the 96 skulls.
Each one of the few friends who saw the painting felt or interpreted different things: "Dante The Divine Comedy, the Bible, Heart of Darkness, The missing peoples. I never thought of anything conscious about the missing ones, beyond the respect that they deserve. Nor did I think of Dante or Joseph Conrad. Just one night I couldn’t sleep with them in mind, I did a minimal sketch and began to paint day and night for fifteen days in a row. So focused, that I forgot to eat and lost four kilos. Pérez Celis in an interview about the 96 skulls.
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Performance "El grand libro" during the Exhibition in National Public Library 300,000 visitors
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National Library Mariano Moreno
Buenos Aires, Argentina.
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Mar del Plata, Argentina.
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Collection Museum Amalia Lacroze de Fortabat
Ventana para Matisse. Mixed media on canvas. 107 x 132 cm / 42 x 52 in. Miami, USA . 1996.
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Fundación Pérez Celis
Designers: Iván Villani and Luz Arias
Request files at: fundacionperezcelis@gmail.com
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