The Aesthetics of Geometric Forms in the Works of the Ceramic Artist Enric Mestre

Abstract

The present research, titled “The Aesthetics of Geometric Forms in the Works of the Ceramic Artist Enric Mestre,” examines how geometry functions as a fundamental visual language that grants the ceramic artwork its balance and distinctiveness. Mestre approaches lines, angles, and volumes as structural components that constitute the essence of the work rather than mere ornamentation or supplementary elements. The study is organized into four main chapters. Chapter One addresses the research problem, significance, objectives, and terminology . Chapter Two presents the theoretical framework, which includes three sections: The intellectual aesthetics of geometric form in the visual arts ,  A study of geometric configurations in contemporary ceramics , A two-part study: first, contemporary Spanish ceramics and its geometric tendencies; second, the artistic experience of Enric Mestre. The chapter concludes with the indicators of the theoretical framework. Chapter Three covers the research procedures. The research community consists of 15 ceramic works by the Spanish ceramist Enric Mestre, while the research sample includes an analysis of three ceramic works.

Chapter Four presents the research findings, the most important of which include:

1.    Geometry constitutes a central axis in Mestre’s construction of form, where lines and angles function as independent aesthetic elements rather than mere organizational tools.

2.    The parallel linear rhythm contributes to unifying the components of the form and transforming it into a coherent geometric system, reflecting the artist’s concern with harmony and structural order.

3.    The ceramist seeks to transform strict geometry into a field of semantic movement, allowing for a dynamic reading without disrupting the structural rigor of the composition.

The study also presents conclusions, the most significant of which are:

1.    It becomes evident that geometric form in Mestre’s work is not solely an aesthetic choice; rather, it constitutes an intellectual system through which he organizes the ceramic mass, bringing it closer to modern architectural structures.

2.    The composition reveals a high awareness of geometric balance, which achieves harmony among volumes and grants the artwork both structural strength and visual stability.