Enoc Perez was born in San Juan in 1967 and received his first painting lessons at the age of eight. The son of an art critic, he spent his family holidays visiting museums in various countries and learning about art history. In 1986, Perez moved to New York to study painting at Pratt Institute before earning his master’s degree at Hunter College. Conflicted with the program at Hunter College, where students and faculty criticized his paintings as overly seductive and decorative, Perez held fast to his belief in the importance of aesthetics and the joy of art. Embracing art’s potential for pleasure and beauty, Perez paints sensual nudes, still lifes, tropical resorts, and modern architectural icons in a simple aesthetic with dazzling, vibrant colors.
He describes his inspiration for his paintings of architectural icons:
“In a sense, these architects really believed in the idea of utopia. There’s a real feeling of believing in these buildings, and when you look at contemporary architecture, that’s not so much the case. The fact that they come from a different era makes them nostalgic. I love painting, and I believe in painting, and I share that with these architects who believed in utopia. Many painters paint to question the medium, which might be perfect for them, but I am one of those who really believe in painting”.
Perez has lived in Midtown Manhattan since 1997 and is surrounded by the great skyscrapers and architecture of New York. Among other things, he has created series of the Seagram Building, the Eero-Saarinen TWA Terminal, the UN Building, and Lever House. In 2007 he exhibited a series of Lever House paintings in the lobby of this building. He is attracted not only by the optimism that went into the construction of these skyscrapers, but also by their now lost sense of power and permanence, which was affected by the tragedies of September 11 and the destruction of the World Trade Center.
For twenty years Perez worked in a technique related to the process of printmaking. Inspired by the influence of Andy Warhol and his silkscreens on the New York art scene, Perez developed his own innovative method that mimics the process of color printing. Perez worked with both reproductions and his own photographs, making separate preliminary drawings for each color he wanted in his finished painting. He applied oil paint to the back of each of these sheets and pressed it onto the canvas to transfer the color. In 2010 Perez decided to work with brushes again. Perez describes his change in process, he explains: “For years I didn’t use brushes in the making of my paintings, the new paintings are painted with brushes. I like the new work, the production has renewed itself. Sometimes you have to burn down your own house to create something new.”
For Enoc Perez, a Puerto Rican artist renowned for his evocative paintings of architecture, buildings took on a new and profound significance after the events of September 2001. Reflecting on that time, Perez notes how architecture became laden with meaning for many New Yorkers, himself included. “We were so painfully aware of architecture meaning something,” he says, highlighting how structures often represent more than just their physical presence.
Perez, who moved to New York in 1986 to attend art school, has made a name for himself with his sepia-toned paintings and oil stick drawings of international-style hotels that harken back to his Puerto Rican roots. His artistic journey has been marked by a deep connection to buildings that, as he describes, are akin to Duchamp’s readymades—functional yet symbolic of utopian ideals. These structures, whether they be landmarks in Puerto Rico or skyscrapers in New York, serve as muses that he elevates through his compositions.
In 2016, Perez experienced another pivotal moment in his career when he discovered the aesthetic richness of diplomatic architecture. This led to a series of paintings of U.S. embassies around the world, from Ho Chi Minh City to Baghdad. For Perez, these buildings became symbols, especially in the wake of the 2016 U.S. presidential election, which brought the concept of America into question. His works, often suffused with a signature melancholy, juxtapose elements like vintage travel posters, palm trees, and Pop art, creating a unique visual language. Among his most moving pieces are a series of Bacardi still lifes, which the artist describes as self-portraits painted during a difficult period before he achieved sobriety.
Fifteen years ago, Perez purchased a home in East Hampton, where he now retreats each summer to focus on his work. Before heading out east for the season, Perez sat down with CULTURED in his New York studio to discuss his creative process, his South Fork routine, and the body of work he’s preparing for an upcoming show at Adrian Sutton Gallery in Paris this fall. His work is also represented by Galerie Enrico Navarra and Ben Brown Fine Arts in London.
A Leap into Pop Art
Perez’s latest series of paintings marks a bold exploration of Pop art influences, with oversized images of cars and lips superimposed onto his canvases. Reflecting on this shift, he explains, “Every time I come into the studio, it’s like jumping into an abyss. On the way down, I hope to grab onto some kind of breakthrough.” This breakthrough doesn’t come every day, he admits, so he continually experiments with different approaches.
One such experiment involved using an app his children were playing with, which allowed him to create mashups of images. “The car says ‘se vende,’ which means ‘for sale’ in Spanish. It’s something I saw all the time growing up in Puerto Rico,” he explains. The painting beneath the car was inspired by a vintage Pan Am Caribbean travel poster, merging collage techniques with his own painting style. Perez’s goal is straightforward: to create art that captivates. “I want to paint cool shit that I’d want to have on my walls.”
A Creative Haven in East Hampton
Perez’s approach to work shifts when he retreats to his studio in East Hampton, a converted two-car garage that he describes as a “more dignified place” thanks to a friend’s renovation efforts. From June to August, this space becomes his full-time studio. For the first seven years, it was a secret sanctuary where he explored new forms of artistic expression, including sculpture. The Hamptons also introduced him to artists he had long admired, such as David Salle and Eric Fischl, who became some of his first dinner companions after buying his home there.
This retreat is more than just a workspace; it represents a bohemian escape where Perez and his family can enjoy a simpler life. “I like gardening,” he says, likening his life in East Hampton to the idyllic images of artists like Picasso surrounded by their children in the studio. “In East Hampton, I’m living this dream that I saw other artists live.”
Connecting Puerto Rico and the East End
Perez’s work is deeply influenced by the modernist architecture of Puerto Rico, and this connection informs his perspective, even when working in the Hamptons. In 2021, Guild Hall in East Hampton invited him to do an exhibition, which he eagerly accepted. He saw it as an opportunity to create a show about Hurricane Maria and its impact on Puerto Rico, a theme he felt would resonate with the beach culture of the Hamptons, where people also cherish and protect their natural environment.
His connection to Puerto Rico remains strong, as evidenced by his major 2022–2023 survey at the Museo de Arte de Puerto Rico in San Juan. Initially scheduled to take place at the Museo de Arte de Ponce, the exhibition was relocated due to damage from earthquakes and Hurricane Maria. Perez credits Juan Carlos Lopez Quintero, a curator at the San Juan museum, for bringing the show to life. Reflecting on his career, Perez remains mindful of the importance of his work and the legacy he is building. “At 56, I’ve been around the art world long enough not to take anything for granted,” he says.
In this phase of his career, Perez continues to explore the intersection of architecture, art, and identity, creating works that challenge perceptions and evoke deep emotional responses. Whether in New York, East Hampton, or Paris, his art remains a powerful testament to his unique vision and the experiences that have shaped him.
Perez’s work can be found in the following collections: Metropolitan Museum of Art, New York; Whitney Museum of American Art, New York; British Museum, London; Museum of Contemporary Art, North Miami, Florida; Yale University Art Gallery, New Haven; New York Public Library; RISD Museum of Art; San Francisco Museum of Modern Art; Pennsylvania Academy of the Fine Arts; Corcoran Gallery of Art, Washington, DC; Museum of Contemporary Art, San Juan, Puerto Rico; Zimmerli Art Museum, Rutgers University; The Frances Lehman Loeb Art Center, Vassar College; Hammer Museum, University of California, Los Angeles; Williams College Museum of Art; Queens Museum; University Museum of Contemporary Art, University of Massachusetts, Amherst; University of California, Berkeley Art Museum and Pacific Film Archive; Picker Art Gallery, Colgate University; Art, Design, and Architecture Museum, University of California, Santa Barbara; Richmond Center for Visual Arts, Western Michigan University; Vera List Center, New School; and the Chazen Museum of Art, University of Wisconsin.
The last exhibition with Enoc Perez at GALERIE FRANK FLUEGEL was in September 2016 under the title “Abstract Architecture”.
Selected Solo Exhibitions:
2024 Enoc Perez: Chances Are You’ll Like It All Ways, Ben Brown Fine Arts
September 28 – November 9, 2024
2023 New Paintings, Ben Brown Fine Arts, Palm Beach
2022 Las Islas del Encanto, Museo de Arte de Puerto Rico, San Juan
Recent Paintings, Obra Galeria, San Juan
2021 Disasters, Guild Hall, East Hampton, NY
2020 The Fires, Harper’s Books, East Hampton, NY
Enrico Navarra Gallery, Paris
2019
Ben Brown Fine Arts, London, UK. „Cinematic Self“
Gavlak, Palm Beach, FL. „The Idea of Us“
2018
Dallas Contemporary, Dallas, TX. „Liberty & Restraint“
2017
UTA Artist Space, Los Angeles, CA. „Embassies“
Brand New Gallery, Milan, Italy. „Casitas“
Leila Heller Gallery, Dubai, United Arab Emirates. „Desert Bloom“
Harper Books, East Hampton, NY. „Nudes“
2015
Koenig & Clinton, New York. „Digs“
Peter Blum Gallery, New York. „One World Trade Center“
The Philip Johnson Glass House. New Canaan, Connecticut, „Lipstick“
Galerie Nathalie Obadia, Paris. „Recent Paintings“
Danziger Gallery, New York. „Cut-Outs“
2014
Harper’s Books, East Hampton, NY. „Summer Jobs“
Thomas Ammann Fine Arts AG, Zurich. „New Work“
Le Royal Monceau, Paris. „Paintings“
2013
Galerie Nathalie Obadia, Paris. „Paris Mon Amour“
Acquavella Galleries, New York. „The Good Days“
2012
Corcoran Art Gallery, Washington D.C.. „Utopia“
2011
Galerie Nathalie Obadia, Bruxelles. „Works on paper“
Faggionato Fine Arts, London. „Nudes“
2010
Acquavella Galleries, New York.
How to Install: Enoc Perez's Utopia.
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