Is there a nod to local heritage in your work?
There are a lot of ancient ceramics in our country. I certainly feel connected to the past through my work, I appreciate the old ideas and feel their energy. I find inspiration in ancient techniques as well, which is a part of universal ceramic art heritage.
Have you mastered any unusual techniques?
I combine a lot of known clay shaping and firing techniques, mostly stoneware, and porcelain. But I have a special spot for raku, an old technique that can give really special results in colour. I think the technical combinations I do are almost like new techniques.
©Stefana Savic
Is your work more traditional or innovative?
The way I build the form is definitely traditional, although the forms themselves are reduced. They seem minimalist and clean, but I also add texture and colour to them. So, it’s a combination of both, but I think my expression is my own.
Do you think your craft could be endangered?
I don’t think the craft itself is in any danger. There are high schools that teach ceramic art, and there are children who want to study and practice ceramics. When I started my studies at the University, ceramic art wasn’t very popular, but I think that has changed.