Three friends, members of the Académie Internationale de
la Céramique Genève and among the world’s elite
of ceramicists devoted to sculpture, whose works are represented
in collections and museums around the globe, have decided to present
their work in a three men show at three European cities: Heidelberg,
Budapest and Valencia.
Yasuo Hayashi (*1928 Kyoto), Enric Mestre
(*1936) from Valencia, Sandor Kecskemétí
(*1947) from Budapest and it is in the Gallery Marianne Heller at
Heidelberg that the triumvirate will first present their works,
from there to move on to Budapest and Valencia.
Their common interest being the exploration of threedimensional
space in sculpture their respective solutions of the basic problems
of sculptural art could not be more aesthetically and technically
Having abandoned his training as a painter in the 1940ies, Yasuo
Hayashi had to take up making domestic pottery for a living,
but at the same time founded the avantgardist group Shikokai to
discover new means of expression with clay.
When flying overland as a pilot in World War II his only clues
to orientation in the dark of night were the few spots of light
deep underneath. To this day they have inspired his work which tries
to recapture something of that strange experience of disorientation
His boxlike objects of stoneware he sometimes turns into irritating,
bottomless make-belief-spaces with intricate glaze painting and
long inlays of porcelain – chunks of night and darkness, which
perfectly stage the space they contain while simultaneously deconstructing
their very aura of precision and exactness.
The Spanish artist Enric Mestre’s sculptural
objects in comparison seem sober spatial constructions: boxlike,
slab built architectural structures of austere colours which seem
to be dominated by right angles.
But appearances are deceptive: these objects have a poetic charm
which saves them from only being rational and cold. The eye of the
beholder detects small projections, subtle displacements and slants
which, together with the immediate effect of the material, counteract
the angularity of the slabs which compose these quiet and well balanced
constructions of strict geometrical order and playful deviations.
Though these objects are often carefully planned and developed,
Eric Mestre with his works insists on intuition – as if obeying
a kind of constructive poetics restraining and controlling personal
expressions without eliminating them.
Totally different from his fellow artists’ works are the
sculptures by Sandor Kecskemétí whose
striking characteristic is their massive material solidity.
A block of clay or porcelain is quickly cut with a wire, levelled
or marked and thus presented in its material consistency while being
shaped into its final form. The maker’s deforming action thus
leaves marks of his creative power on forms as fresh and direct
as the movement of the artist’s hands.