About me
My creative drive has been influenced by many experiences and moments. I especially remember long holidays at the beach and conversations with my mother while she developed photographs in the darkroom. I come from a very free-spirited generation; we went to London as au pairs and were blown away by the art galleries, the punks, the fashion, and the music. Undoubtedly, that spontaneity is where I get the idea of improvisation as a valuable tool in the creative process, but also the importance of hard work and dedication in shaping and structuring ideas.
I started at the Deba school, an arts and crafts school. My path to the ceramics workshop was more of an adventure than a coincidence. I don't remember a specific moment when I decided to embark on that journey, especially getting up early, which I dislike, but I do remember the excitement and curiosity I felt as I entered the world of ceramics. The people I met at the workshop were a source of inspiration and learning.
I've drawn from a wide variety of sources, from traditional engraving and screen printing techniques to experimentation in photography and painting. The leap into ceramics has opened a whole new window of creative possibilities, allowing me to explore the relationship between form, texture, and space. Although I have limited spatial awareness, when there's matter involved—tangible, three-dimensional materials—I greatly enjoy the interaction of matter; the tactile experience.
The best drug to create is the passion and creativity that we all have inside and it is also free. Clay is grateful, soft, with its touch and its aroma of wet earth, it is addictive, especially in its ability to connect us with our most primitive, most animal, most childish side. It's an addiction but a healthy one. It hooks you permanently.
