Noted for his persistent portrayal of the international style in the built environment – landscape in the form of portraiture, modernism in the form of memory – Perez here applies his unique technical evolution of painting and printmaking to architecture of the Near East. He looks to the formal contours of the Sheikh Zayed Mosque in Abu Dhabi, to the futurist vaulting parabolas of Zaha Hadid’s Haydar Aliev Cultural Center, and to the 7th century Dome of the Rock, the painter traces an urban landscape which is both deeply ancient and heroically contemporary.
Born in Puerto Rico and arriving in New York in the twilight of the era of Pop Art, Perez sought to recuperate the medium through a reversal of Warhol’s mechanistic gesture. Utilising photographic images as reference points, Perez does not reduce painting to the iteration of the infinitely reproducible image but rather renders the process of printmaking into the expressive and decelerated painterly gesture. Perez builds each image in layers of saturated pigment, finished by hand, in what he deems “printed paintings”.
Above: Enoc Perez, Louvre Dubai, 2017
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