It entails preserving the legacy of our ancestors and innovating, not just reproducing but drawing inspiration to reinterpret, bearing in mind the world we live in. I also feel that it is key to create objects that convey messages and feelings, to mark a difference between craftsmanship and serial production.

They are an invaluable source of inspiration and when I see centuries-old pieces I am always mesmerised by how well they are made. If I had to choose one it would be the Onggi, the traditional container to store and ferment food, because of its simple shapes and functionality.

I started by chance when I was still living in Korea, thanks to a friend and I was immediately enthralled, the feeling was very meditative. A few years later, I was not happy with my career and the memory of ceramics resurfaced, this is when I started to study both traditional Korean techniques and celadon pottery.

Manual activities are instrumental in finding balance and fostering well-being; to have time to oneself and work with one's hands is stimulating. When I sit at the wheel I feel fulfilled, through repetition time slows down, it is very different from the speed of computers and mobiles, it brings me back to a more real world.