My work as a ceramicist is deeply inspired by the Eastern principle that humans are an integral part of nature and must act in partnership with it, rather than over it. This philosophy guides my artistic practice, leading me into a continuous dialogue with clay, fire, and the natural processes that shape ceramics.

My inspiration emerges not only from my surroundings, rich with organic forms and textures, but also from a profound connection with Indigenous ancestry. These influences guide my work on both conscious and unconscious levels, evoking a sensitivity that seeks to honor and value the teachings of Indigenous peoples, whose symbiotic relationship with nature serves as an essential example of balance and harmony.

Working in partnership with clay requires observation, attentiveness, and respect. I do not impose shapes but collaborate with the material, understanding its characteristics, its resistances, and its possibilities. This relationship extends to the surface of the pieces, where I use the clay itself to create subtle interventions, whether through terra sigillata or engobes, exploring nuances and textures that honor the essence of the material.

The process culminates in the firing, where fire becomes a co-creator. I embrace its unpredictable interventions as an integral part of the work. The unique colors, textures, and effects that arise from this encounter between clay and flame are a celebration of serendipity, proof that absolute control is incompatible with true collaboration with nature.

My pieces are, therefore, the result of this intimate partnership between matter, ancestry, fire, and artist. They carry within them not only human intention but also the strength and poetry of the natural elements that shaped them. By valuing this dialogue, I aim to promote a ceramic practice that recognizes the interdependence between humanity, the environment, and ancestry, cultivating an aesthetic that celebrates harmony rather than domination.