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Latin American Fotografia: Victor Enrich

By David Schonauer   Wednesday January 6, 2016


Victor Enrich spent ten years working as a 3D architectural illustrator.

But he was only interesting in rendering the exterior of buildings. “In exterior rendering projects, there always was the part of the job in which I had to shoot the location of the project designed by my customers, and that was very pleasant for me, as it involved getting out of my studio and seeing places I had never been before,” he says.

In 2007, the Barcelona-based Enrich decided to end his freelance business, tap into his savings and take off on a short trip, which ended up lasting seven years. During that time, Enrich lived in a variety of places, from Riga, Latvia, to Tel Aviv, Israel, and wherever he went he photographed buildings.

“Now that I can see that period with some perspective, I can understand, more or less, why I made all those pictures,” says Enrich. “I think that each of them were basically similar to what we know as diary notes. I think I was trying to write a diary of my personal experiences, but instead of doing it the regular way, I did it by creating some images.”

One of the buildings he photographed was Tel Aviv’s eccentrically-design Orchid Hotel, with its balconies exploding toward the sun. “I had recently found a very affordable apartment in a beautiful and well located neighborhood, a five-minute walk to the beach, and every morning I woke up early to swim. It was very beautiful to see the sunrise from behind the seaside buildings while I was in the water. And one of those buildings was the Orchid Hotel,” Enrich says.

Enrich’s photo, which was named a winner of the Latin American Fotografia 4 competition, captures the hotel’s playfulness. “One important aspect for me was that next to its northern side, one could find an openness of space — a little garden with some pedestrian ramps that enable people to descend to the beach. This space was exceptional, since much of the space located by the sea is occupied by other buildings,” says Enrich, who titled his photo “Medusa.”

“In those years I was using a Canon EOS 350D, and in order to get higher resolutions I would stitch together a series of 50 pictures into one,” he says. “Obviously this process has a lot of limitations —  for instance, you have to avoid situations with strong atmospheric changes, and locations with lots of objects in movement. That is why, if you check my pictures, you will hardly see humans or cars.”

His journey ended, Enrich settled again in Barcelona, though last October he spent two months doing an art residency at the Universidad Nacional de Colombia in Bogotá. He now works exclusively on fine-art photography projects and sells limited-edition prints of his whimsical images of buildings at his website.

“The good thing about art is that there are many ways to make a living out of it,” says Enrich. “It seems that I have chosen mine.”

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Dispatches from Latin America