“I know Isidre Enrich’s almost obsessive images, apparently similar, but with an internal tremor that makes them always different. Sensitive paintings that know how to play with the support, with the background, with the matter of his stroke. I know these images and I like them. I like them very much. I see a spontaneity of gesture and a powerful plastic mania. Plants in a pot. Powerful stems that dialogue, that bloom in a world that is not quite real. But that works to become one in our brain.

The obsession of the painter wants to possess us and succeeds. We end up giving him everything. And we discover in his gestures a tenderness that comes from the icon, from the evoked world, but also and at the same time from the matter with which this icon is sustained. A beginning of drawing, a background, a stroke, become painting. A painting full of subtlety that knows how to put itself on our mind to move us in depth. The almost insulting youth of Isidre Enrich can disconcert us, but the sap that makes his stems tense is something more than youth. It is the strength of the discovery of the world. Of the real world and of the world of form. Isidre Enrich invites us to this powerful celebration of his discovery. And those of us of a certain age feel renewed and encouraged by his vision, his insistence, his imagination, his strength… his grace.”

Narcís Comadira on  Enrich’s practice