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and makes possible, Enric Mestre —this is never a criticism— has moved, in his career, toward rationalized, experimental dialogue with pure forms. And in that mutual coexistence and collusion, his increasingly pronounced attention to space has not stopped demanding, also increasingly, its undeniable rights. And so if forms generate spaces, these spaces —often made into an evocative void— are not only transformed in the respective limits of formal constructions, but they also inhabit their undeniable corporality, augmenting their mystery and the scope of their possible spirituality.

In reality, ever since Enric Mestre decided —some time ago now— to fully combine, in his works, what we might simply call their outer epidermis with their internal capacity for suggestion, not only has the category of spatiality taken —to its benefit— new definitive turns, but the architectural character, assumed paradigmatically, has also opened up new horizons for his work. Thus, since then, his personal vision of the existential milieu has kept on revealing new, evocative objectives, while his artistic language has been enriched by different, versatile morphologies and an increasingly radical, refined syntax.

How can we not take into account all the richness that these interior spaces give Enric Mestre’s ceramic works? Spaces that are in principle cut off from the eye and are merely insinuated or perhaps, in other cases, converted into short paths for light, when we manage to discover the openings that perforate the forms, completely distinguishing them as architectures that contain their own secrets?

Why set limits and obstacles for creative ceramics, at a historic moment in which the boundaries between the so-called artistic genres have been rendered meaningless? Why not claim for ceramics the full range of possibilities as well as, of course, all the demands and risks?

No doubt the austere use of color and carefully controlled textures are merely, in this case, deliberate strategies that serve to reinforce the central role of forms —volume-generators— as a shelter for space, perhaps as a metaphor of life itself, of its profound isolation and accepted solitude. Because, as we were saying earlier, the marks of existence are always behind Enric Mestre’s ceramic-making processes, although generally in a complementary, rarely explicit way. This occurs in certain periods of his career, with the singular development of series devoted to structures found in the rural, agrarian environment: Moradas y Urnas (Dwellings and Urns) and Acequias y Túneles (Irrigation Ditches and Tunnels). Surely the very name of these series becomes a theme that helps shed some light on their conceptual approaches. But certainly, this is short-lived, only of use in terms of a possible explanatory exegesis of the process behind their creation, perhaps useful educationally though always circumstantially, versus the creative autonomy of ceramic shapes and their resulting aesthetic functionality.

We could say that this, and no other, has been the aesthetic idea that has guided Enric Mestre’s career, which we have wanted to showcase in this exhibition. Perhaps this also explains why all his experiences have together sought their radical expression in the medium of ceramics. Hence, for instance, just a few years back —I remember it well— on his trip to Turkey, where he wandered around Cappadocia in awe, he must have been surprised by the unique architecture he found there, full of inner rooms and astonishing constructions carved right out of nature, as if the earth had opened up its eyes through them or as if man were trying to penetrate through those simulated eye sockets, and take refuge, intimately yet definitively, in them. Wasn’t that a fitting example of the perfect symbiosis between man and nature to generate, in this exchange, a pared-down landscape? Nature, on its part, has strategically contributed the outer form, light and the beauty of the unknown. And man, obsessively digging in its bowels, has learned to create spaces and —leaving the mark of his presence— to endow them with intense spirituality. How could Enric Mestre not admire, then, this situation in which —like in others— the most elemental and

Profile for Javier Mestre

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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