The art, which consists in setting into a kiln an object that shall receive, through the fire, the Character of ceramic produce, contains essentially, in its very deep nature the concept of "becoming", of "unfolding".
    All the choices preceding the decisive action of firing are concentrated on the object, waiting for a promise. As soon as the firing has began, an inexorable course begins, whose stages have been precisely imagined; a course supported by an elan, an intention proving the existence of an active, careful and loving presence. When the work is achieved, this elan will run through it and be it's real expression.
    By coordinating progressively the transformations with attention on their signification, it is possible to lead each transformation to its most typical state, enlacing the leaps from one quality to the other. Each stage carries the seal of what is the specificity of ceramic: the hardening of the clay until its vitrifying: the first sign of the clay  until its vitrifying: the first sign of melting is the glazy surface of the burnt clay, further on it will be the transparency and the color of the glaze which is by its very intimate nature the same than its support, the vitrified clay, of whom new and unexpected qualities are now developed.
    We can feel this progression like an image of what is typical for life. It does not confine creativity into a schema of idea, but sustains the creativity by proposing a frame to observe the phenomenon's involved in the realization of the ceramic action.
    The notion of color developed in my ceramics can be considered in this sense.
    I approach the color as the ultimate issue of a technological journey, closely bound to the progression of what is--during the firing--evolving: to begin with the hardening of the form and thereby its taking place into space, and ending by the transparency and vibration of the color, which has its origin in the crystalline quality of the glaze, penetrated by the light.
    The form can be understood as an indispensable armature for its foundation in reality. The form-by accepting the color-takes upon itself all that delivers it from its own function of incarnation, and is thereby thrown into a new spatial dimension.
    The color escapes from the surface that would retain it ,as if the surface was looking for its own kingdom, for being something in itself. But in this case, it's not the color's condition means: to accept the color, which at first, does not want to be submitted to the form; and stimulate the form to accept a revolted paretner. Thus appears the polarity between firmness and fluidity.
    This polarity becomes concrete through a manner of working, which consists in reducing the form to combinations of surfaces, and the color to a kind of flow passing from one plane to the other; flow which is modifying itself according to the sympathy it has for one or the other movement fixed into the clay.
    This stake offers no security, and experience remains the only point of support for a possible success; it is here that the possible and inevitable variations must inscribe themselves, without any complex of perfectionism.