Dubai-based visual artist Eduardo Enrique is Else’s Artist-In-Residence. His first exhibition in Kuala Lumpur compiles digital and physical sculptures where pop culture meets the human psyche.
By NABILA AZLAN
Lost Sanctuary by Eduardo Enrique debuted on May 25 at Else, a hotel tucked right in the city centre at Jalan Tun H. S. Lee. Enrique is part of the hotel’s newly-introduced Artist-In-Residence programme, which commissions artists based on their creative curations for its space. On its opening day, art enthusiasts and connoisseurs alike were entertained by the works on display alongside the musical compositions by Primitif (Dizkopolis).
“Having lived across cultures as an expatriate advertising creative, I am fascinated by the way objects become an extension of us, reflecting our identities, values, fears, and desires.”
Born in Venezuela, 34-year-old Enrique who is a graduate from Parsons, The New School in New York City alternates between Dubai and Singapore for life and work. Serving over a decade in the marketing and creative advertising sphere, his knowledge centred around fashion, lifestyle and entertainment supplies him with a unique cultural insight, which is then used to shape his art. Aiming to challenge conventional art narratives, the artist admits to intentionally create work that would come out effortless, sometimes even accidental.
In his Artist Statement, he further claims his forte: “Some say that brand is my medium, as I frequently use it to create hypothetical extremes in consumer seduction, satirize notions of contemporary worth, or simply examine the behavioral effects of its presence.”
A marketer-socialist hybrid himself, he does not only understand brand influence – he toys around with it. Enrique is not afraid of exploring this unique niche in the art scene.
Lost Sanctuary displays the oddest of pairings. This exhibition of hyper-realistic CGI fine art prints provokes visitors of various backgrounds to come together and rethink present societal norms. By putting two and two together (digital and physical; cultural heritage and pop culture) he presents juxtapositions of museum artifacts and branded goods, poking fun at the perils of consumerism.
Delve into the destructive reality of humanly wants and needs. To those who might ask about the significance of Nike equipment used as part of the show, the artist claims that the brand has somehow become the symbol of consumerism. A presence so strong in contemporary society, Enrique’s drive is to spark commentary around this cultural phenomenon.
“As an artist, I prioritize depth over technical mastery. My goal is to inspire viewers to recognize the beauty and significance in unexpected or seemingly mundane things, to witness the profound in the absurd,” he says.
Having what’s available in the NFT marketplace in mind, Enrique says, “When you become the collector of one of my digital works, you are receiving a lot more than just a framed photograph of the artifact, you also become the solemn owner of the raw data that was used to generate that image.”
A believer of the how artistic display expands the potential audience of an artist’s work, he continues to experiment, opening up new ways of expression and creation. Imploring discourse and interaction, Enrique invites everyone to reflect on how we are all interconnected regardless of ever-changing cultures.
He also sheds light on the various existence of art formats in this day and age. His art, being presented as specific images generated via the collection of native tridimensional data, allows countless possibilities for collectors. For one, people are no longer constrained to enjoying works of art. Imagine the more innovative approaches artists in the future could incorporate in their practice!
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