TECHNICAL STATEMENT

Though the method used is elementary, indeed I might say almost primitive and without too much interest for the viewer, I shall try to be as clear as possible.
The process begins by accumulating ideas in my drawing pads. Each artist chooses the method that best suits his way of working, and I personally find it difficult to start without a plan of what I am going to make. The drawings therefore allow me to go to the piece almost directly. I choose the simplest drawing, Which with the fewest elements reflecting my idea of the pieces. If it is complicated to see the exact volume in the drawing, I fashion a small scale model measuring 8~10cm at most.

After this, I proceed to prepare cardboard templates on the actual scale of the piece. The group of templates provides me with a rough idea of the slabs of clay I will be needing. I prepare the clay slabs and let them dry to leather hardness. The slabs are then cut, using the templates, after which they are stuck together, and the piece starts taking shape. This is when is becomes necessary to think about the architectonic structure, and decide whether some support or inner reinforcement is required to keep the piece from deforming, in drying and later in firing. When the structure is finished, here comes the moment to think about the textures and subsequently about the engobes, to provide the work with touches of colour.

Firing is another decisive part, Since it can completely change the colours of the clay. Some works are fired in an oxidizing atmosphere. However, depending on the result, they can be put back into the kiln again to see if the result can be improved by reduction ,and they may even be fired a third time, to force them until the pieces become absolutely black, thus letting chance plays its part, which though it may not seem to be the case, always does play an important role in the ceramic process.