Enric Sala

Born in Vic, Enric is a strong be­liever in the idea of cre­ation as a col­lab­o­ra­tion be­tween the artist and his or her sub­ject. It is a process in which both par­ties change, evolve and find a meetng place. His in­spi­ra­tion comes from nat­ural and bi­o­log­i­cal el­e­ments, and he stud­ies the nat­ural geom­e­try of such things as seeds, plants, pine cones, shells, leaves, and con­cre­tions, mi­cro­scopic el­e­ments. Entic is in­tel­lec­tu­ally rest­less and also a pas­sion­ate reader of sci­ence and phi­los­o­phy; he sees him­self as a trans­la­tor of an in­ter­con­nected cos­mos, a con­cept he tries to em­body in his work.

Enric took an ac­tive role in the restora­tion of the gar­goyles of Girona cathe­dral, as well as in the cathe­dral in Barcelona, the Sagrada Família and other Ro­manesque and Gothic restora­tion work around the coun­try.

He has taught sculp­ture at the EMBA School of Fine Arts in Salt since 1997, which has the only stone carv­ing work­shop in the province of Girona.

Enric has ex­hib­ited in Barcelona, Vic, Gra­nollers, Olot and Girona, among other places.

Cat­alo­nia Today vis­ited him while he was giv­ing classes at the EMBA in Salt, where he was sur­rounded by stone wait­ing to be sculpted, his tools and fin­ished and un­fin­ished sculp­tures. He is a pleas­ant and rest­less man and cer­tainly cap­tures the at­ten­tion of his stu­dents.

In 2013 he was se­lected as one of the top sculp­tors and ex­hib­ited at Aus­tralia's Swell Sculp­ture Fes­ti­val.

1. Gar­diner: a ser­rated chisel used to shape the stone.

2. Es­carp­ments: a set of flat-edged chis­els for sculp­ture.

3. Punches: it is a tool that al­lows you to punch through the ma­te­r­ial as you like.

4. Half-round chisel: beaten with ham­mer blows and used for shap­ing.

5. Seeds, grains, pineap­ples, roots, and so on: nat­ural forms that have a geom­e­try that I use for in­spi­ra­tion in my cre­ations.

6. Geo­met­ri­cal in­dus­trial plas­tic ma­te­ri­als: polyurethane and acrylic. These also serve as in­spi­ra­tion in some ways.

7. Com­passes: an in­dis­pens­able tool for the cre­ation of geome­tries

8. Pen­cil and paper: sketches are made on paper be­fore draw­ing the final out­line on the stone.

9. An al­most fin­ished sculp­ture: “al­most fin­ished” be­cause quite often the sculp­tures are not fin­ished.

10. Wedge: needed to hold the stone in place, andssen­tial when work­ing. The stone must be im­mo­bile when sculpt­ing with the dif­fer­ent tools.

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