For Enrique Martinez Celaya, making producing art is an ontological necessity that becomes vital catharsis. His existential proposal creation seems to be a therapeutic cure for the espritsoul and the only effective way to survive.
In front of his work, we always have always the impression of an open-hearted confession that inevitably captures us inevitably, demanding from us our most authentic human feelings. His enigmatic universes, loaded with a disturbing loneliness and introspectionve atmosphere, invite the spectator goingto go further, openingto open mysterious doors that lead us to unsuspected worlds not without risk.
This winter, The Boca Raton Museum of Art, located in South Florida, offers to us during this winter a splendid voyage through Martinez Celaya’s peculiar artwork.Drawn from the private collection of filmmaker Martin Brest, this show reveals the artist’s complex cross-disciplinary approach to art-making where literature, philosophy, installation, photography, sculpture and painting come together to create a very personal cosmogony.
IntegratedIntegratedby by nineteen very representative artworks ranging from epic- dimension paintings to subtle watercolors and one of his distinctive bronzes, the exhibition explores essential themes such as memory, childhood, voyage, exile, isolation, loneliness, and oblivion. These essential themes have been a leitmotiv in Celaya’s artwork, always motivated by a desire of comprehension of the human soul. PerhapsMaybe, that is the reason leadingthat leads Celaya through the exploration of cycle. All his works, conceived as participant elements, are interconnected to an even more complex intuitive system, where the ideas of cycle and interdependence are crucial. Celaya’s production participates ofshares a sort of echo: his painting only cancan only be entirely understood throughby his poetry, and this in turn throughby his photograph, and this throughby sculpture, and throughby his books, and so on,. Aall this in an infinite ascending chain of associations that only stops in the artist's own biography.
Born in Palos, Cuba, 1964, the artist leftleaves the country as a child. The feeling of abandonment and solitude have followed the artist throughout his life, obsessing him when facing creation. Therefore, uncertainty has becomes a kind of metaphysical manifestation about self and others: being the other always positioned on the viewer. That is what makes his quite universe so intriguing his quite universe. In the always-vast open space, a lonely figure –a youthpuber invariably- stays in a relaxed attitude, histheir eyes are lost in the distance, like as if looking inside himself. We are overwhelmed by a kind of anticipatoryting sensation. The peaceful external atmosphere is just the antithesis of a turbulent inside world, where the miscomprehension translates into the unstable sense that stresses us.
The most anguishing feeling is then the impossibility. The viewer, trapped in the limit-situation existential experience, tries to help, but the link is indefectibly broken. The cycle has shifted substantially: we now experience the character’s anguishes now embodied in ourselves.
(published on Art Districts Florida December-2009-January 2010)