Signed in as:
filler@godaddy.com
Signed in as:
filler@godaddy.com
I find inspiration in Nature, in the utilitarian old vases used for the mediterranean cultures, and in the wabi-sabi aesthetic. My land, Monegros, arid land in the north-east of Spain has a direct impact in my pieces where I try to reproduce the soft surfaces from their landscapes.
I like to build the pieces slowly, joining small portions of clay and see how is growing the piece in an organic and harmonic way. Once the shape of the piece is built, and not too dry, I work the exterior face removing material trying to reduce the thickness and taking care about the transitions between the surfaces that form the piece. I love to finish the piece with an irregular edge that with their asymmetric shape give to the piece personality. The interior of the pieces I leave rough showing the process followed for building.
Usually I glaze the pieces, as testimony of their utilitarian function.
For making the glaze, the nature alto makes an important job. I mix different raw material, and during the winter, where the conditions are better to dry the water slowly, leave the glaze resting during months until hexagonal crystals are created. These crystals will create shine spots in the matte surface of the glaze.
Since I started my studies of ceramics in the art school, I look the environment in the different way. Clay is in everywhere and also the materials that you can use for your glazes. I started to collect clay from my nearby and when I am working with it, the smells carry me to my childhood, where we play in the surroundings of my village, or to my youth helping to my family in the field to pick up the grapes or the olives. This feeling joined with the way of build slow the vases, makes me feel calm and focused.
I started ceramic in the art school of Zaragoza in 2016, I had not worked before with clay, and from the first contact I knew that won’t be easy to leave it. I enjoyed leaning throwing, modelling, making molds and glazes, and I am still learning every day. After my studies I bought a gas kiln. I had never work with one, in the school we had electric kilns, and was hard at the beginning, but the experience to work with direct fire enrich me and I started to have good results. At this time, I used the throwing wheel for most of my pieces. But in 2020, during the COVID lockdown, I was living in Zaragoza where only had a piece of clay. It was when I started to use pinching techniques to build my characteristic vases. I found the process quite interesting and I loved the result, so I continued to develop this line of pieces. My next steps will be focused in work with local materials. I started to work with local clay and I would like to be able to do the same with the glazes. I like the idea of be self-sufficient and collect my own materials and transform it into ceramic pieces.
For this exhibition I presented three vases and two bowls. All pieces have been hand built by pinching techniques.
The vases take the shape from the amphoras used from the ancient civilizations along the mediterranean sea, but working with organic surface for giving to the piece movement and personality.
The bowls were created from a unique ball of clay and built as the primitive’s ceramics from the prehistoric.
All surfaces are covered with glaze, fired in reduction firing at cone 8.
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