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If this happened to me on a mere excursion out of town, how could Enric Mestre not have a similar experience on his frequent travels? How could he not, with his avid sculptor’s eye —always tied to his subtle ceramic investigations— and his insatiable curiosity about all the cities and architectural forms discovered on his constant travels around the world? Surely this admiration and wonder —on an artistic and not just philosophical level— has served as an inspiration for his creative work? Traveler or pilgrim, explorer, voyeur or passer-by, seeker of images and thief of experiences, I know for a fact that Enric Mestre has always wanted to complement his own life experiences with the forms he has so astutely studied and scrupulously constructed, step by step, in the self-conscious silence of his studio.

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Nevertheless, between these personal experiences and the subsequent creation of his works, we must point out the recurring, real presence of his many numbered sketchpads. They are “cahiers d’atelier” clearly marked by usage and time, their pages filled with drawings, meticulously arranged and grouped as if they were rational diaries of action and/or some kind of archive record, produced by the deliberate, careful stroke of the pencils that are an extension of his hand and mind. Here we have the sculptor’s drawings, which have become, then, a real storehouse of his visual experience, an inexhaustible repertoire of thousands of figures, a repository of ideas and countless formal suggestions. Not only do these notebooks keep the real memory of his past alive, they also serve as a record of the best potential and a source of inspiration for the future. For Enric Mestre has constantly gone back to these quotidian “cahiers d’expérience vecue” —as shown by the many fingerprints left on their pages— whenever doubts or a certain “impasse” blocked his hours of reflection and investigation. The idea, then, is to remember the past and resurrect it so as to perhaps plan, a bit better, future possibilities. And during these periodic reunions with experience, his sketchpads play a fundamental role. They are —equally— rearview mirrors and apt windshields. They serve as a record of sketches and notes, but also as an

active source of projects. Projects that lie somewhat dormant, waiting to be transformed —in yet another preliminary step— into eloquent models, testing the existential coherence of these forms yet again; from the two-dimensional into the three-dimensional. That’s why I would venture that his life, his sketchpads and models, his drawings and notes come together as effective references and a guide for understanding all his definitive works. They are, incidentally, the best key to our understanding of the guidelines that govern his sculpture work, to explaining his periods, series and formal solutions. It’s no coincidence that, as we have suggested, the exuberance of life is poured into, recorded and preserved in these notebooks, to later resurface —gradually and selectively— in their pages, in the ceramic investigations and experiences constantly conducted in his studio. I have noted this, as the curator of some of his shows (such as the one held at the Sala Parpalló of Valencia in 1999, covering his work from the second half of the Nineties), and I shall say it again now, nearly a decade later, in this exhibition promoted by the Consortium of Museums, comparing his sketchpads, sculptures, impressive ceramic panels and even his paintings, which we have had to do without here. Because, after all, Enric Mestre’s already-long artistic career includes many ways of approaching art and contains all of these different creative facets. On this note, however, it wouldn’t do any harm to ask ourselves why Enric Mestre returns, time and time again over the course of his career, to the visual memory of architectural forms, to the point of making them the most recurring, constant motif in his poetic constructions? Imagined architectures / spaces for reflection / dreamed-of forms. I’ve always thought that his sculptures refer, over and over, to those architectural references as a direct reflection and the best record of life around him. That’s why each of Enric Mestre’s ceramic pieces emphasizes some detail, stresses a certain aspect or evokes a fragment of that skin of social life which architecture essentially is. And precisely in their sculptural fictionality, these forms —reinforced geometrically— become loaded, at the same time, with an intense poetry. This shift to

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Enric mestre; vint peçes per a un museu  

Catálogo de la exosición "Enric Mestre; vint peçes per a un museu" que tuvo lugar en las tres capitales de la Comunidad Valenciana; Valencia...

Enric mestre; vint peçes per a un museu  

Catálogo de la exosición "Enric Mestre; vint peçes per a un museu" que tuvo lugar en las tres capitales de la Comunidad Valenciana; Valencia...

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