Enrique Martínez Celaya: Collected Writings and Interviews, by Enrique Martínez Celaya
By Enrique Martínez Celaya
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Additional info for Enrique Martínez Celaya: Collected Writings and Interviews, 1990-2010
I construct the sort of surface that I paint on—that I’ve been painting on for the last ten years or so—to intentionally deflect the line and prevent the line from being too perfect. There is this dialogue going on between two different types of painted elements. One of which characteristically would be the kind of heavy black line and then something naturalistically painted like a vegetable or some sort of species of postsupremacist abstraction. A kind of dialogue between two different types of line making or image making in the same painting.
It is a synthesis where one oscillates from belief to disbelief; the oscillation is the force and the secret. mag: In summary then, would you say you are grappling with an area of human understanding that has been forgotten or doesn’t fit with what either an old-fashioned positivist notion of rational analysis or the more current post-structuralist idea of criticality? emc: Yes. ” This compared to making distinctions between rational and emotional thoughts. While they are different circumstances of the mind, these partial understandings lead to apparent discontinuities.
What are we talking about? emc: I’m glad that you are asking that. First, what I mean by discontinuity is not at all in the language. Second, this is an iconic painting following in the fourteenth-century tradition of having a central motive with almost no doubt as to what is important. It may seem very continuous upon first read; nothing too layered. Concentration should quickly destroy its concreteness, its continuity. Someone might think of discontinuity as the work of Lari Pittman, for example, where repeated visuals layer fractionary aspects onto one another.