CELSO JUNIOR: GREG II

All the work of Celso Júnior, subjective moral or aesthetic apart, reveals an extraordinary vigour; reality being presented in such a way as to leave little doubt as to his desired objective. But he goes still further, creating spaces and characters, which overflow with other realities, pictures that transcend the merely figurative aspects with a special decorative aura.
These spaces confidently and comfortably inhabited by his models are, nevertheless, subjected Lo his personal interpretation as he sees them in his mind’s eye in uniforms, boots and helmets - this is his power, like any other form of violent authority, a recourse Lo the psychic animality within Man.

In his earlier work there is a certain preoccupation with detailed texturing of space, such as is seen in over-decorated domestic shrines; this distracts The eye momentarily from the image thus creating an ambience in which it is possible to enter the mind of the subject. His recent work, however, has a sharpness of contrast which is free of any subjectivity and displays a functionality of form on a plain, coloured background giving an almost comic strip effect.
This new departure which inclines towards pop art, eliminates the mystery and gives us harsh reality: nothing remains of the religious metaphor but the passion; but, unlike the interpretations made so many years after The death of Christ, this passion leans towards depicting the pleasures of the flesh.

Celso Júnior, who seemed to seek sensuality with an almost religious fervour and adoration, has now removed the veil of decorative excess and the curl of incense. Now bodies, uniforms, the smell of leather, sweat and horses, yearning and ecstasy permeate the canvas without any moral pretext. The colours have retained the lush brilliance of the painter’s native country. Brazil, though the manner in which he sees and depicts his subjects has changed radically. If, previously he particularly tried to express the inner self of each official with a forgiving maternal eye, an implosion has taken place which now demands a second look at enigmatic smiles on thin lips, unseeing eyes and unthinking minds, creased uniforms and highly polished metal.

ln his work today it seems that Júnior with his implacable, lucid eye has, like his subjects, slipped into a uniform, one which he can wear with pride.

July 1994
Pedro Peña / Margaret Kelting


GREG II
Oil on canvas 1994
158cm x 108cm / 62,20” x 42,50”
Exhibited in Paris – IEM 1997