Architecture has always been the main core, or to put it another way, almost unique, as it relates to common objects photographed by Victor Enrich. This Barcelona born 36 year old photographer nevertheless provides a new ingredient, or not so new, in photographic production: digital retouching techniques of computerization using 3D graphics, or commonly known in architectural parlance, “3D renderings”.
Indeed, it has been a total dedication in the field of 3D architectural visualization which, for over a decade being a professional, has allowed him to reach a relatively high level of control of the techniques associated with such activity, rising him to achieve maximum photorealism to almost any three dimensional object that he is being addressed.
To all this, important to add, however, that because the broadness of the 3D sector, encompassing many disciplines and sub disciplines, the artist admits openly to be a perfect ignorant on some of these disciplines, emphasizing, however, an almost morbid interest in architectural and / or urban issues.
So we come to the typical case of self-taught. A profile that is only keen to learn those techniques useful to express his ideas, completely discarding all those that are foreign to them. Of course, this implies limits on their type of production, although we can assure that the mere effort of the artist to express an idea is reason enough to learn new techniques.
It is therefore in the field of technology, in which Victor Enrich uses innovation for what he wants to create. In particular, the invention of techniques like the one that allows him to build almost exact 3D replicas of the architectural motifs within the frame of his photographs. A technique whose recipe is based equally on the observation of details, the understanding of volumes, lights and tones, the use of patience in the long and tedious process of replication and all together with critical thinking and some unknown source inspiration.
One could summarize that in his attempt to change architectures, is really trying to change cities, and from a more humanistic point of view, change our common reality, the one that supposedly all of us know and we are accustomed.
Obviously, all this would not be possible without a vast inner world of him, which feels the urgent need to liberate himself for the sake of his mental sanity.
That is why, his photography, as the alter ego of our reality, should be, in turn, realistic and unrealistic, based on the languages ​​understood by ordinary mortals, but in the same way, introducing nuances, sparks or simple sleight of hand, that encourage viewers to enter a sort of confusion on what is assumed to be real.
Its mechanics is, today, essentially always the same and consists of short stay (months) in a different urban destination each time, which has been selected in advance or somehow proposed by somebody of his environment… ( we can call them trips ) during which the artist tries to flood his already vast unconscious, with new or not so new human input, which, past through his critical filter, will eventually become, sooner or later, a photographic work.
Important is to mention that, given a product of the subconscious, the artist discards in advance that his work could be understood in an architectural discourse, leaving thus architecture for architects and focusing on what really occurs: photography.