By Enrique Martínez Celaya
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Extra resources for Enrique Martínez Celaya : collected writings and interviews, 1990-2010
Is it the paradox you’re after or is it the representation of a metaphysical realm that you strive for? emc: I am not interested in any representation or illustration of the metaphysical. It is the epiphany I am after, not imagining what it will be like. I like the physicality of these objects but always as a vehicle. The physical aspect of these works and what they evoke generates a third state. This third state or quality is the reconciliation of the physical and the spiritual as intellectual clarity.
I have been taking photographs for some time but usually as reference for my paintings and drawings. After a while, I started to become interested in the photographs themselves. As I pinned them to my studio wall I started to develop a relationship with them as objects. From this emerged a way of addressing time and the problems of selfcontainment, which is different than the photographs that I have seen. I like pictures where their moment does not have a before or an after. Time can then be generated by photographs instead of documented by them.
I’m not so interested in the idea of recounting memories negative or positive in terms of a forgotten past. But as someone who left his country and moved from place to place, that past—in terms of a personal history—always becomes something to contend with when looking at a larger history. cm: So time, for you, is understood in terms of place? emc: In my family, conversations about memories always were prefaced with Originally published as “A Conversation with Enrique Martínez Celaya,” Artweek.