The post-produced world
Capturing architectural space through the lens of a camera is a difficult task, complicated in part by the sensory limitation of a photograph, reducing the perception of a space merely to the visual.
The development of the different techniques has advanced, capturing with greater precision the intentions of the architect and the photographer. From Daguerre’s 1838 shots on a Paris Boulevard to Instagram, we find a succession of techniques, pretensions, technology and, why not, imagination.
The modification and photographic experimentation, the post production of the image, becomes a relevant factor. The required disappearance of a pedestrian in the wrong place, dividing the photographed building in two or superimposing times separated by 80 years, the level of realism remains in the hands of the artist. The production is then based on endowing or depriving of characteristics the now architectural object, until conceiving a completely different work, unreal, impossible, non-existent… Until then.
The conception of this post-production process only pursues a subjective investigation, an absurdly personal dream captured with all luxury of details until giving the situation never expected. This is the story of an artist who finds himself in this same dream.
Víctor Enrich, the dream of a journey
Víctor Enrich, Barcelona (Spain), 1976.
Studying Architecture at the School of Barcelona. She works as a freelancer doing renders from 1998 to 2006. During his professional stage, as a self-taught, he entered the fields of photography and 3D. In 2007 he stops this professional stage and begins to work on personal projects until now, taking advantage of a trip of more than 7 years through several countries in Eastern and Central Europe and the Middle East. Since 2018 he begins to experiment with oil painting in parallel to a return to the professional world as a marketing consultant for 3D companies around the world.
This instinctively restless architect develops a work based on the detail and precision of the surreal, where buildings are supported in an impossible balance, or rotate to welcome us from the roof. These eccentric and exaggerated alterations of the socially established create an inexplicable landscape, open to an interpretation that we will never premeditatedly obtain.
The most important thing, from my point of view, is that practically none of the pieces, at the time of their realization, were based on any conceptualization of any kind. Essentially they are temporary traces of my step and progressive falling in love with the different urban environments that I visited during my trip. A peculiar way of saying “I was here”.
Over the years, and after a constant approach to the world of art, I have been learning tools that have allowed me to elucidate or uncover aspects of my own work that previously could not have crossed my mind.
In short, I believe that one of the keys to why these pieces have penetrated so much into people’s imaginary is their apparent harmlessness. They are harmless because they don’t distil any specific message, but in that condition, they allow everyone to create their own.
To reveal my thoughts about them, after all these years, would be for me the closest thing to betraying them and all those who shared their thoughts with me.Victor Enrich, 2019
You can access Víctor Enrich’s work here through his website, or consult it in our gallery.
All artwork belongs to ©2019 Victor Enrich.