By Enrique Martínez Celaya
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Extra resources for Enrique Martínez Celaya: Collected Writings and Interviews, 1990-2010
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. emc: Right. For example, in discussions about the dichotomy between culture and self, and the related dilemma of which one is the creator of the other one, little progress has been made.
Directly accessing emotion is so hard that most of us have to resort to a library of clichés so we can process our feelings. We’re supposed to dismiss clichés, but they’re still very powerful. Though they also run the risk of being trite. I think whenever you’re talking about memory you run that risk. We all have stories that are embarrassing and filled with clichés, but they’re true and oftentimes they’re moving. Even paintings of crying harlequins—a lot of people find them moving. Do you? No, but I see potential in them.
In particular they say the edges only crop, not that the edges are a direct force on the image. Of course, I am speaking very loosely. Examples can be found that dismiss this. 2. Is this desire for object a hang-up or a strength? From the beginning, even doing figurative work, I have valued the iconic. Scene based paintings with a strong narrative (as opposed to poetic) presence have never appealed to me. It is maybe difficult to explain this. I suppose it seems From EMC’s sketchbook notes. 18 (and seemed) a bit ridiculous to put a little story in a work because that can be done better elsewhere.