Enrique Marin is an exhibitor of dreams, just like those who in days of old, on the village square, presented their wares. However, Enrique Marin makes little commentary. It is up to us to find the way out of the labyrinth, to discover the sense and uncover the meaning of the rebus which he proposes for our attention. Persuasive pictorial vocabulary is grouped: lances, ladders, funnels, targets, boxes, labyrinths, wheels, machines, marionettes, masked figures, clouds of crumpled paper, even a hot-air balloon... Allegory is necessary, but suggested rather than stated.
The art of illusion belongs to the world of theatre, but the masks invented by Enrique Marin have ceased to be theatrical accessories, and have become whatever each of us thinks is necessary, in order to preserve our privacy and affirm our liberty. Exposed to the world of Bosch, to the unreal world of Magritte, Enrique Marin has also given a quick glance at Grosz, de Chirico, and a certain stylization of the 1920s. He has shown a certain nostalgia for his native Spain. His attachment to his birth place was again confirmed recently by the homage he paid to Juan Gris.
He has adopted Brittany, whose unrelenting character has marked certain of his works. But his universe is without frontiers. He did, for a while, denounce the anxieties of our epoch, its menaces and oppressions, but now he takes time to relate more intimate conflicts -- those of the couple. Or he tells us of the frailty of human relationships, or again, of the refusal to compromise which separates the sexes definitively.
The quality of Enrique Marin's work remains exceptional - uniting the precision of design, subtle coloration, and modulated lighting. With this perpetual inventor of forms, we rediscover the play on forms and all the forms of play - a spiritual game, visual, and tactile. Enrique Marin's horizon is one of new proverbs to be formulated.