There is no such thing as only one Eulàlia Borrut Casas. This is because her work is done from different perspectives; even opposite perspectives, some may argue. Her works become windows which overlook onto different universes, each of them with its own impressive internal coherence. In a similar way to Fernando Pesoa’s writing with many literary personalities, one may say that Eulàlia Borrut paints from several artistic depths. In her creative polyhedron there is the abstraction universe, the abstraction that will rebuild itself and shows the specific shapes in a hyper-realistic treatment which clashes with the dreamlike backgrounds. There is also the concept portrait world, made up of bodies and human expressions which build themselves symbolically as allegories of our shaken world. There is also the sheer nature: that of the orange-trees that are so real-like that become pure memory of the actual trees, of the light that makes their fruit ripe and changes them into a sort of fire for the heart.
There are even more Eulàlias, but there is one common point: the artistic sincerity, an impressive mastery of the technique, the will for the inner research and the music writing which permeates the rhythm and sensitivity of everything she paints or the things that will remain hidden behind the sought-for abstraction. There is one last reason: everything is there on purpose, so that it makes sense within our gaze.