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Ars est celare artem

The ceramics of Enric Mestre: When matter is transformed into geometry

refined, formal, born out of a complex synthesis of diverse variables. Hence the surprise that is always present when contemplating the proposals made by his The inauguration of this exhibition of the ceramics, as though they were bottomless recent work of Enric Mestre (sculptures, wells of multiple trains of thought. reliefs, panels), which brings the latest Such rigour and simplification hurls us steps in his aesthetic investigations to a directly into the essence of Enric Mestre’s conclusion precisely as the century draws aesthetic values. Moreover, in the case of to a close, is an event that was long over- his ceramics, these are inseparable from due, for myself at least. We can now be an entire set of vital values which are never satisfied that we have accomplished the immediately explicit, only gradually sugtask of planning and ensuring the viability gested, remaining discreetly inserted into of a wide-ranging exhibition that will the formal framework of his austere works: provide direct confirmation, in Valencia, geometry as the basis, construction as the not merely through references from goal, spatial representation as the entranelsewhere, of the heights that Enric Mestre, ce to an imaginary world. through his attested ability and intense It is as though these demands he makes rigour, has achieved in renewing and set- on himself during the laborious process of ting standards for the suggestions that his work are not wholly absent from his ceramics has to offer within the diversified aesthetic experience. Neither are they panorama of contemporary art. spared to those who contemplate his For those of us who have had the personal works, who - pari passu - must become satisfaction and professional good luck to ascetics of their own gaze and persistent follow the gradual development of the controllers of their own touch in order to singular artistic development of Enric fit the rhythm of his chain of discoveries Mestre, with an interest not devoid of to their own measure. impassionment, the encounter with this This is because Enric Mestre’s pieces are global view of his works through the nine- all, in fact, in their radical suppression of ties has served as full confirmation of an the frontiers between the sculptural entire series of conclusions, although, in a approaches and the emerging architectural way, their broad outlines had already keys that constitute their basis, no more become evident as characteristics that than bare, rational labyrinths, born of define his trajectory. fantasy and soberly assembled for interOver the past three decades, in fact, we pretation. At times they can even appear have not encountered any random varia- extremely simple in their strict structure, tions or unexpected leaps in the sustained although we soon discover that they are direction of his artistic investigations on inexplicably charged with ambiguous behalf of ceramics. It is precisely this very possibilities for interpretation as we follow personal imprint - interwoven with cohe- the perceptual thread of the discoveries rence, without concessions or facileness, that we can successively detect as we view constantly more self-demanding and his pieces and arrive at our respective merciless with his own task - that has led readings. him in the direction of an increasingly Over time, Enric Mestre has moved on from extreme simplification. This should not be impassioned dialogues with matter, an misunderstood: his simplicity is gradual, inevitably corollary of any work with cera-

mics, towards a rationalized dialogue with pure forms. In this mutual co-habitation, his increasingly marked attention to space has never ceased to demand its indisputable rights, to a steadily greater degree. Consequently, if forms generate spaces, these, which often become thought-provoking, troubling voids, are not only transformed into the respective limits of the different formal constructions, they also people and inhabit their rotund internal corporeality, enhancing the aura of mystery and the scope of their possible spirituality. This is the path that leads from form-matter to form-meaning. How can we not take into account all the richness that these interior spaces contribute to Enric Mestre’s ceramics? At first they are closed off from view. They are merely insinuated or perhaps, in other cases, they may become simple paths to conduct the light, if we manage to discover the series of openings that pierce and perforate the various forms and fully define them as enigmatic architectures which also, within themselves, harbour their own secrets. His chromatic austerity and meticulous control of textures are undoubtedly, in this case, intentional strategies that reinforce the marked preeminence of the volume-generating construction forms as shelters for space, which may be translated into a metaphor of life itself, of its profound isolation and accepted loneliness, like so many other interior dwelling-places. Indeed, as we mentioned before, the traces of an existence are never absent, underlying the processes that shape Enric Mestre’s ceramics, although their presence is generally complementary, rarely explicit. The same holds true for these latest stages of his work, in the highly singular development of his most recent sculptural series such as his architectural references to dwellings and urns, to ditches and tunnels,

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Profile for Javier Mestre

Enric mestre; construir formas, fingir espacios  

Catálogo de la exposición "Enric Mestre; construir fomas, fingir espacios" en la Sala Parpalló de Valencia en 1999. Enric Mestre; escultor,...

Enric mestre; construir formas, fingir espacios  

Catálogo de la exposición "Enric Mestre; construir fomas, fingir espacios" en la Sala Parpalló de Valencia en 1999. Enric Mestre; escultor,...

Profile for mestrebel
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