By Enrique Martínez Celaya
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Extra info for Enrique Martínez Celaya : collected writings and interviews, 1990-2010
17 1 2 3 4 5 6 7 8 9 1 1 1 1 1 1 1 1 1 1 2 2 2 2 2 2 2 2 2 2 3 3 3 3 3 3 3 3 3 3 4 4 4 Venice Beach, California, 1996 1996 Notes April 4 (Pomona ca). On the issue of Object-Image. First of all I cannot immediately figure out why is the objectness of the work so valuable to me. 1. Do I enjoy “non-object” image-based work? Not really. An imagebased work, such as a Bouguereau is beautiful, even compelling, and yet it fails to engage me at a visceral level. Only some image-based paintings work for me.
There is kitschiness in hummingbirds that introduces a wedge into much more serious considerations. I think that, somehow, the marriage of sentimentality and detachment implies a heightened poignancy, which is much closer to the way I experience life. I like the fact that the juxtaposition of banality and seriousness can coexist within the image of a hummingbird. It is a wonderful surprise to find a very serious painting with a four-foot by five-foot hummingbird . . much more surprising than a Campbell’s soup can.
Emc: Right. But not in the way that a musical play is interested in the musicality of experience. I do not want to sing the poetics of experience. Instead, I’m moved by the poignant poetry that is present in experience. mag: Consequently, you’re not interested in critiquing experience per se. Rather you are determined to use poetics that would suggest a play with meaning, specifically meaning that is, let us say, subtextual or inferred. Somehow in listening to you speak now it almost sounds as though culture in the poetic sense is to be understood as that which cannot be reduced to mere logical explanation or analysis.
Enrique Martínez Celaya : collected writings and interviews, 1990-2010 by Enrique Martínez Celaya