Enrique Martínez Celaya is simultaneously staging exhibitions at USC, the Huntington, and UTA Artist Space — each of which provide a different glimpse into his provocative, thoughtful approach to art.
Review: Enrique Martinez Celaya’s art of displacement and longing
“When I’m not reading it, I’m listening to it, read by Jeremy Irons, and it feels like that is the ether through which everything I’m doing is happening,” he says. “There’s no reference to Eliot in any of the images, but Eliot is providing a philosophical prayer about the forces that I think are at play.
The artist’s installation at the Huntington incorporates Eliot’s words directly and draws a connection between the interior journey alluded to by the poet and migration in a broader sense. He was one of two artists commissioned to contribute work to “Borderlands,” a thematic reinstallation and recontextualization of part of the Huntington’s American art collection.
The view from the benches, out across native coast live oaks to the San Gabriel Mountains, summons a sense of the land’s long history, its shifting stewards and changing uses, says Carr. “The Fury” forces you out of the safe territory you are usually in when looking at a portrait, says Martínez Celaya. “The owl looks at you in the same way the figure looks at you: You are sort of implicated. Some transgression has happened there which is irreparable, and you are the one watching it happen. You are the witness.”“Rarely in his work do you get such a deeply personal view into his psyche,” adds Carr. “It’s a difficult painting.
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