C r i t i q u e _A n t h o l o g y

"With his art, Pérez Celis goes along through pathways where the imagination and freedom seek to give us a different vision of the expression and the expressive, plastically speaking, so we can feel satisfied, intrigued, disturbed or expectant, with his compositions of forms, lights and his startling colors. He continued being the thaumaturge of the precise colors and the always changing forms" Ramón Oviero, Panamá.

"In New York, the land of the pseudo artistic innovations, he was capable of maintaining his integrity whole, refusing the last moment styles and resisting the newest theories of Art. The color compositions deserve a special comment. They print in canvas an sculptural consistency, that transports the viewer to new dimensions, that are not found in plain areas. Pérez Celis speaks a multicultural language." Berta Sichel, USA.

"The first thing that one realize, shortly after knowing the life and work of Pérez Celis, is that painting is in good hands. His art cry out loud, their mistake, to those who believe that artists make abstractions when they are unable to paint figures. Sculptor, fashion designer and full time artist, Pérez Celis presents us today with a part of his genius." Samuel Valenzuela, Chile.

"Pérez Celis exposes a rich texture in his abstract forms, abandoning plain areas and turning them volcanic. Therefore he feels more at ease in the greater dimensions. His tone is optimistic and energetic, as an oratorial. He had produced one of the most powerful movements in the continental plastics." Daniel Caballero, Perú.

"This artist did not back away from the advancement of the innovations that had swarmed from at least three decades. He loves painting as such and so, in consequence, he takes all the risks that its frequentation can offer." Guillermo Whitelow, Argentina

"Lo novedoso es que, además de haber asimilado la impronta neoyorquina, por primera vez asoma en alguna de sus telas eso que los caribeños llaman "negritud" y que está presente no solo en plásticos como Lam y la fuerte escuela de artistas dominicanos y puertorriqueños, sino también en poetas como Palés Matos o Nicolás Guillén. Lo que digo puede verificarse de modo especial en aquellas obras en las que emplea una suerte de punteados que hacen acudir a la memoria las decoraciones de máscaras y pinturas con las que se tropieza a menudo en ese área afroamericana y que, en cierto modo, era la única que aún no se había incorporado a su bagaje cultural el voraz apetito de Pérez Celis." Rafael Squirru, Argentina

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