After many years of working with ceramics intermittently, I decided to take it up again more frequently and make it a permanent occupation in my creative day-to-day life. I completed my studies in Hungary in a vocational training equivalent to the Spanish Grado Medio in Spain, focused entirely on the ceramic arts. During those four years I learned both the more traditional techniques and industrial processes, and although I became fluent on the potter's wheel, I always felt more connected to manual work.
I am particularly attracted to asymmetrical and organic shapes. I work with manual techniques such as pinching, pressing and churros, which allow me to model freely and follow the intuition of touch. I often incorporate natural textures into my pieces, pressing leaves, shells or even seaweed into the fresh clay. This dialogue with nature inspires me deeply: each mark is a trace of life.
Lately, I have been creating small statues of women and fantasy creatures. These figures are not only an artistic exercise, but also a way to connect with an ancient tradition. From protohistory to antiquity, many cultures have depicted female figures in ceramics: from the famous prehistoric Venus to the goddesses of fertility, motherhood and earth.
These statuettes were not just decorative objects; they were symbols of power, life and protection. They embodied beliefs, desires, natural cycles and the sacred. Today, in modelling my own female figures, I feel that I am paying homage to those roots: celebrating the strength, sensuality, spirituality and creativity that dwells in every woman.
Each piece is unique, imperfect, and with its own character. And that is precisely what fascinates me. To return to ceramics is, for me, to return to a language that speaks without words, from the hands and from the earth.
