I was always fascinated with the concept of Moebius strip, where the endless undefined, is the “structural framework” of my current works. It is Moebius and the search of the logic of the constant flow of the curves that regulates the movement. As an eternal french curve tool.
The flow of the movement of certain marine creatures Is also a space reference. There are no straight lines, unseen gravity, no upwards, nor downwards, no ground to bear. My pieces have no base, neither front nor back, they can be hanged or supported anyway. Each choice reveals different spaces and different voids fluidly connected.
The choice of materiality has to do with the sensory experimentation of the hands in the clay, with the satisfaction of the touch and with time of the ceramic that allows me to explore movements and spaces. I can flow, rock in curves, wander, until I find the movement of each piece. It is the material that sets the temporal and physical limits, I simply look for them and that gives the result of each piece. The material delimits the thicknesses, the tensions, the supporting structure. With respect to the material, I leave it uncovered, showing its matter without makeup or glazes. I work at the cellular level of the mass, adding elements to achieve different textures and tensions. The size of the pieces has to do with the size of my bones, of my interstitial space, currently exploring the subtle points in depth.