At the end of the 90s, Enoc Pérez made a series of portraits of women he secretly admired. In the early 2000s, his meeting with Carole, who would become his wife, immediately impacted the subjects of his works: he began his exploration of architectural forms, one of the major and most recognizable themes of his work. Around 2018, on the recommendation of his mentor Peter Brant, Pérez began to explore the interiors. His paintings of buildings and interiors are like cultural portraits frozen in a time, in a place, evoking the past, the present and the future, deliberately devoid of any human presence. While the architectures are created as a tribute, the interiors are more of an ode. Each chosen room is directly linked to a person Pérez admires or finds intriguing: artists, musicians, celebrities. During the lockdown, he diversifies his subjects: cars in flames, airplanes, and a return to architectural imagery.

Started in Paris, the series Voyages sur le Motif is mostly the result of several stays in Brittany. Each canvas was painted in front of nature, facing the sky, and bears the name of its place of creation: Champ de Mars, Dinard, Baie du Mont-Saint-Michel, Île-de- Bréhat, Crozon, Île Bruc, Belle-Île… Renk follows the path of the impressionists and, as they did, carries his equipment to paint outdoors, without prior sketch. He paints “sur le motif”, “on the spot”.

Self-taught artist, he uses spray paint to represent skies in which the colors fade to reveal the harmony. The sky is at the center of his search, not for its picturesque effect but to illustrate, with spontaneity, the variations of colors, shadows and lights. These works are an accumulation of his tag “Renk”, in different sizes and colors, endlessly repeated until it disappears.

Nkisi nkondi were powerful charms or fetishes in for certain Kongo peoples from what is now Angola, the Democratic Republic of Congo and the Republic of the Congo. Rare and costly to make, the nkisi nkondi were employed by a nganga (ritualist) to serve the needs of the community. They had several functions and were often used to cast spells, ward off misfortune, chase down evildoers and ndoki (witches) or help heal certain diseases. Closely linked to political power, a potent nkondi was a source of wealth and prestige for a village. Tribal chiefs could “hire out” their nkondi to villages without their own. When not in use in public ceremonies, nkondi were housed in special locations and placed under the watch of one or more guards.