In this body of work, I delve into the rich territory of embodied cognition, a knowledge rooted in physical practice, as the only one existing since the dawn of humanity. It holds countless memories - gestures, interactions, feelings. Using clay, with its technical and historical memory, I convey personal stories through abstract forms, examining expressive juxtapositions: performance vs. passivity, craft vs. art, and, above all, object vs. subject.
Vibrant colors (engobes) intensify thrown clay traces, symbolizing non-verbal knowledge: flows, intuition, premonitions, emotionality, and memories recalled by contact with clay.
The integral frame, acting as a backrest, embeds the physical matter and animate history of the clay's territory. This evolving territory becomes both the subject and object of knowledge emerging in the creative process.
I aim to unveil tensions in physical matter - personal and collective unspoken stories, places, and contexts converging in each piece's intricate mosaic. The ceramic medium becomes a narrative device, a material trace of internal processes.



Year: 2022-24
Technique: throwing wheel, areographe spraying, firing 1200 C
Material: porcelain, engobas. Frame: wood, acrylic paint