Ramon Enrich : Dos Verds I Un Blau

Dos verds i un blau: Ramon Enrich’s Spatial Forms 

Exhibition text by Matthew Holman 

Space is what enables us to distinguish a number of identical and simultaneous sensations from one another; it is the principle of differentiation. 

– HENRI BERGSON, TIME AND FREE WILL (1910) 

A quiet, staged landscape sits within the wooden frame, its forms arranged to remind us that these three-dimensional objects are flattened onto the levelled picture plane. A horizontal expanse of brown ground – like a felled tree planed flat by a joiner – leads to a low pink wall and a pale building whose blank façade, coloured like the rough edge of sandpaper, holds a narrow dark doorway. Inches above the ground, the opening looks less like an entrance than a portal, or a void. The empty doorway suggests a presence that has only just passed through – or might return at any moment, but not yet. To the left, a small green cone stands upright, casting a long silhouette that stretches across the earth. The sky above is a deep, even blue, meeting the distant outline of a low hill. Light seems fixed in a perpetual late afternoon, pressing against the walls and lengthening every edge. Nothing moves. The scene is held in a taut, precarious equilibrium, as if time has paused just long enough for the shadows to settle. Beneath this stillness, the quiet geometry of the place remains calm but not entirely at ease, its careful balance of light and space carrying a faint atmosphere of agitation despite, or even because of, the undisturbed vista. This is the realm of Ramon Enrich’s “NU”. ‘My constructive language leads to a tension where everything feels suspended, almost like a theatrical pause’, the artist says of his work. Here, the landscape becomes a stage on which nothing happens, yet everything waits to begin.