Enrich R’s (Spain, 2001) work is based on a layering strategy of superimposed stratums and mixed paint compositions coming from organic abstracted shapes.
Through the use of modulation and materiality, he aims to reach a poetic and naked essence. Meanwhile, these compositions follow a path of silence in between the insights of paint reaching out to the essential.
Space and time or physics and memory are concepts that hide along the subtle cracks on the canvas surface. Subdued tones fight against proportion to achieve harmony.
He appeals, occasionally, to concepts such as imperfection or the most psychological aspects of paint itself. Confronting common concepts of eastern cultural heritage with a strong impulse of Mediterranean light.
His images depart from organic patterns which are later transformed into distorted graphics, enigmatic rhythms, and modest gestures.
His influences derive from artists such as Rothko, Hernandez Pijuan, Lee Ufan, Richter, Morandi among many others who prefer paint on top of concept.
Simplicity, harmony, and a formal beauty using a great variety of some worn and bare supports where the layers of color and the patina of time build a unique skin full of sensuality, energy, and tension.
The artist plays with the concepts of light and colour with vibration and blurring to provoke effects beyond their own formality.
“An old friend once told me this story:
There was a small island somewhere in the Pacific Ocean with no drinking water. However, men and women had been living on it for years.
Since the island had no water sources, its inhabitants devised a system to survive.
Noticing that every morning a mist would appear along the cliffs, they built nets, which they hung on the rock walls. These captured the condensing mist. Under the nets, buckets collected the condensation into water.
It is thanks to this ingenious system that they were able to live on this island.
This story describes, in my opinion, the nature of great artists: men and women capable of imagining and creating systems of capture.
Capturing the living that never ceases to escape us, to surpass us.
Therefore, this activity requires capturing devices, whatever the discipline.
And it takes infinite precision to capture what is vital and yet ephemeral. It requires a certain know-how but also a certain necessity.
When I discovered the work of Enrich R, I immediately felt this need.
Because we know that everything is there, that the living, which is the real gold, is not produced, but passes through us.
We know that we rarely measure up to this life that is beyond us. Almost never.
Except when we paint.”
Yoann Bourgeois about Enrich R.’s practice.