Perhaps the milder snow in Alicante makes ice sculpture a yearly pursuit for Enrique Jordá, a creator who brings cold work to life as if it could become real in a heartbeat. Since the competition was first unveiled in 2004, the International Ice Sculpture Competition has been a centerpiece of Valloire, a village tucked in the heart of the French Alps, celebrated for more than three decades as a hub of frozen artistry.
Jordá has joined eleven editions and this year stood out by being selected among 49 proposals from across the globe to exhibit only twenty pieces in the final stage. Five works originate from French authors, with the rest representing diverse nations, notably Northern Europe.
“It’s a competition where I feel safe and comfortable, and I’ve woven it into my schedule,” he notes. Since the first invitation, a routine formed: he introduced himself with a mix of nerves and curiosity, and the organizers welcomed him. An intern at the Villafranqueza ice factory(Cubisac) helped him learn relentlessly, and each year he continues to learn in a broad field with many tools to shape this material. Jordá studies at Alicante Restoration and Fine Arts, works as a restaurant manager, and pursues painting and sculpture projects in his spare time, including temporary ice work.
The ice artist reflects on the climate contrast, noting the average temperatures around Valloire hover near six degrees below zero. He describes the experience as positive, even after previous years spent at minus twenty degrees Celsius when he could work without freezing. Weather cooperated, with neither rain nor constant cloud cover, and on some days the sun shone brightly while statues were protected with thermal covers.
The Damocles project was crafted in France using Blender, a 3D software, with a composition measuring three meters in height. It relied on five ice blocks, each about 100 by 50 by 25 centimeters, set on a snow base of 70 by 100 by 100 centimeters. Participants spent a little over four days shaping their sculptures, and the works endure for about a week in public view before slowly melting as sunlight strikes them. The competition site sits in a small, highly visited alpine area popular with skiers and travelers alike.
about work
Jordá’s statue this year drew inspiration from the legend of the Sword of Damocles. He aimed to depict the throne of King Dionysus, recalling the tale in which Damocles, eager to taste kingship for a day, saw a sword suspended above the king’s head as a constant reminder of impending peril. The philosopher-artist explains that this image serves as a reminder that envy often hides flaws, a moral lesson he found fitting for interpretation through symbolic and visual means.
In this latest work, as in the previous year, he used spherical shapes to reinforce the mythic symbolism, aiming to present the throne with the sword poised to fall as a strikingly organic and variable form.
Regarding the tools, Jordá typically employs chainsaws, gouges, ice scrapers, and water-seal syringes to join pieces. He has even adapted scrapers to fit the curvature of different shapes, a technique borrowed from his experience with wooden sculpture where a chainsaw also provides versatility.
Vote on the web
Although Jordá did not win any awards in this edition, the Internet Prize continues to draw attention. The public is invited to vote for the winner of the 2016 competition until January 26 through a formal online form, with the results announced by the festival organizers. The voting process remains accessible to online viewers who wish to participate, and the event is celebrated for its communal engagement and artistic ambition.