I took the large scale drawings I was working on, in which I tried to resort to nature while
harvesting gardens of invented flowers, to create forms with ceramic pieces that seem to
emerge from that space, with natural interaction. The clay was useful as it served me to
explore alternative shapes in the modelling. Throughout my creative
process, there is always a moment where the unexpected occurs: something that
already existed at some level, but was not still transformed into matter.
I like to wonder through alternative volumes and textures that come together in clay
through hand cut shapes. I am particularly interested in playing with the
rugosity of the skin as opposed to a plain surface. In those lines, I also use color and the enamel techniques: only through the uncertainty of the creative process is where I end up finding previously unexpected results. The process has its own rhythm, similar to nature herself, with its own timing, laws, and endless possibilities. At the end, it inevitably turns into
magic. And then the piece’s inevitable objective is finally fulfilled.
