For Rutten it is purely about the act of painting.
During this painting process, Rutten is strongly involved in techniques and the use of different materials. Painting is for her as much about process as product. She often begins with a ground of different structures and a random use of bright colors, sometimes pouring and blowing the paint, sometimes using big brushstrokes. In this way offering the coincidence as much chances as possible with the delicious possibility of unexpected results. She needs these coincidental effects to initiate the creation process. This unsystematic approach, is alternated with intentional interventions. And although the first layers are chaotic, in the end for her the painting should have a good balance between energy and stillness, an elegant composition and above all a wide range of colour.
Sometimes she is working all the way from imagination, in case of the more figurative work, a series of photos is the starting point. In that way the work has different degrees of abstraction. She works from different themes; what they have in common is a "vivid silence". The way that a face, a flower field, the underwater world or a superb landscape can give us a calm and silent impression, while at the same time there is a lot going on.
The basis of the work, is always thorough and repeated observation and drawing, until certain forms she wants to use are internalized.
"These compositions are like  poetry. Varied shapes and pleasant colors depict a romantic atmosphere and with the taste of nostalgia. A nice environment, wandering in an unspoilt nature, a garden without snakes, an inner world without sin and the absence of suffering. With these paintings, all this tastes like “being kissed by the Gods”!" from the speech of Willebrord de Winter at the exhibition in Franz Pfannerhuis, 2021

"The landscapes are imaginary. Like the streams, they only exist on canvas. Not one of the florals grows in a park or a garden; maybe underwater, but that's not certain. The portraits were never flesh and blood people. From a distance they are delicate, soft and young, but up close the skin of paint turns out to be irregular and damaged.
On closer inspection, the stillness appears to be extraordinarily lively in all paintings", from the interview with Kees Verbeek, 2020
"The paint applied layer over layer, color over color, using a light structure, and then in this size, ensures that the work enters the experience immediately and continues to fascinate. Moreover, it is a beautiful, timeless portrait",gallery owner Lia Hector, 2019.

"A special game of colors and forms. Both form and color are fantasy but nevertheless it is as if you go under water as a deep sea diver."
(From the juryreport of Painting of the year 2018)
"Landscapes you will not find anywhere on a map. However, much of what we see is well known to us. Empty plains - once seen on a holiday trip - with a magnificent emptiness, as if you could never walk in it. Ena rightly calls her fictive landscapes: "Days Without Us". It gives me the feeling that the beauty of this world can only be experienced at a distance and in silence."
(From the speech of Willebrord de Winter (former director of the Amsterdam Academy of Arts) at the exhibition "Ver-Gezichten" in the museum Het Petershuis in Gennep 2015.)

"In her paintings it seems as if the world stands still, holds on for a moment. These lonely, quiet, motionless motives are at the same time meaningful and symbolic. In subtile colors the composition spreads out, nothing distracts the observer, nothing comments or decorates her depiction. Her works invites us to linger, to lay back and contemplate."
(From the speech of Josef Gülpers, art historian, at the exhibition "Höher immer weiter" in Duisburg, Germany 2014)