Do you have a favourite technique?
I have two. One is 'sangam', a white clay inlay technique for vases originally from Korea. I have slightly modified it by adding colours in addition to white and using it on flat surfaces. The second is a raku of my invention, called 'dolce' because of the low temperature of extraction from the kiln.
Can you describe your creative process?
Actually, I cannot! I do not have a creative routine. When I wake up in the morning, I still do not know what I will do during the day. I would describe myself as a jazz musician who improvises without following a score, thus building a completely new world with his music.
What do you like the most about ceramics?
Ceramics is like liquid cement: easy to shape when it is still a mixture of clay and water, but hard and long-lasting once fired. Working with it is like building a sandcastle on the beach and then turning it into a real one, made of solid stone, just by firing it in a kiln.
What is the most difficult part of your work?
Breaking free of the rhetorics. When I start a new piece, I always ask myself: “Why am I doing it this way? Can I do it differently?”. And just like that, in trying to find an alternative to traditional techniques and stylistic features, an artist can push the boundaries and be innovative.