Mariano's collection Calvé is, sincerely, very worthy; logical consequence of its uninterrupted investigation process in the area of the avant-garde, based possibilities more than in a grouping sense - in definitive you reaches grouping conclusions that non online - in individualistic prances.

The fissure is open and, deciphered the topics, it is the personal contribution. Mariano Calvé, shuffling his ceramics, slipped and enamels, it gets modeling definitely sculptural, maintaining, in all time, his alchemist argument of the pictorial thing. Task that develops in a definitely abstract line, but he seems to defend of a naturalistic irresistible attraction.

These pieces that are an undeniable reflection process and contained feeling, appear before the spectator like alive tangle that it wraps, it spreads and he makes tilt any heterodox derivation. To model will be an art "artisan"; to think and to carry out the "argument" will be I always relate facto insoldable.

Mariano Calvé could be located, as poetic of group, in the prism that the artistic ceramic from the years 70 have outlined; this is, initial dialogue and interest for all type of ceramic "artistic" or "popular", local creation  of the most distant geographies, looking for a balance between the diverse proposals and traditions, next to this integrative spirit, so distant of the common Manichaeism, a definitive interest is manifested in considering this art like a conjunction of plastic factors - to develop - with the whole expressive demand and of technical necessary and wide knowledge that are so much the base of the tradition like the natural product of the personal experimentation, of a side, and of the industrial demands in the industrial ceramic, for other, (...)

Mariano Calvé work is framed clearly in a sculptural development of the ceramic, remitting the strictly - in perfect conjunction with the chosen forms - to that line among abstraction and nature that it is not diluted in constructivismo. The expresividad in its work is logic product and sensibility. Concisely the full tact development and vision in some pieces that go away much of the simply prospective thing in a group portrait.

Mariano bets on the difficulty of the simplicity. Of his work could be affirmed that sentence of Mies Van Der Rohe, "fewer are more", the matter frequently has a purified color, soft, white. The ornamental elements decrease to the incisions that look like undecipherable writings. Calvé finds the maxim it forces in the intensity of the lines, in the intersection of the plans, in the unexpected geometry.

Far, these ceramics of the coldness of the excessively logical thing, request the tact, the caress however. The cold and flat matter invites to that the hand slides for her and the view delights in what has of strong and delicate, of hard and fragile.

Hung in the walls, on a pedestal or directly on the floor, they are objects that move for their simplicity.

These works gather a brief collection but alerted by the simplicity (that not scanty message capacity), accomplice of a sculptural sense that doesn't give up the pristine matter of the mystery ceramist and that it is served, in occasions, of elements that would be simple adjective in other hands, but that here Calvé includes them in the formal and global theory of the realization (v. gr. those stony support-angles that so well work him). This way, between the synthesis and the coherent multiplication and with emphasis absence, with the support of the metal, but without appealing in fashion to tricks, the ceramist that we already knew in two versions of Interarte shines gallantry of solutions, fantasy to be left the routes of the comfort and she is faced with enviable maturity (in spite of her years...) when bringing us these formulations. The sum, the result is that the visit to Paral-lel 39 are gratifying, it approaches uses and very interesting formulas and they point out to this author like one of the most remarkable of its generation.

Always, Mariano Calvé is interested in inserting the pictorial into the ceramic, but it is during the period 1987-88 when he reaches kind of an obsession with a lyrical enormous load and lines signales or prevailing an informalism, via Manuel Millares, harrowing and existence. Definitively, 1989 are the appearance where an everything is conjugated leaving of their previous years. The works are murals or exempt that can be, the last badges in two angles so that they don't fall or a badge penetrating on a stone with similar function. The totemics forms are, but, mainly, the totem standing out and hugged by badges of diverse materials. The geometric thing dominates, and I mention to the relating thing with the profiles, Geometry expressed with total energy, moderated in dependence of the color. The coloring, the same thing can have a bicolor prevalence, with tiny lines signales to evoke a poetic one that areas diving in a secret without sharing. He mixes the explosive thing with the fineness. And that pictorial area has a formal kindred field to the profiles. Summing up. Rectangles on a similar support, squares, triangles and circles corresponding to the perforated foils, intermingle with it previously affirmed to develop him. Therefore, formal emphasis inside a polisemia, and everything in each piece.