These sculptural vessels are hand modelled with the techniques of pinching and Lulo. The burnishing is done with a small river stone during the drying process. All the pieces have a first firing in a low temperature terracotta gas kiln. The black pieces go through a second firing, the traditional pit firing, using llama and goat guano as fuel. The firing is done in a reducing atmosphere, which is the reason for the black colour, grays and graphites on the surface of the piece.

Life and water in the salt flats are closely related. This is how the close relationship between these two pieces is presented, from their movement and fluidity. These are sculptural vessels modelled by hand with the techniques of pinching and Lulo. The burnishing is done with a small river stone during the drying process. The firing is done in a low temperature terracotta gas kiln.

This series of vessels is an attempt by Soledad Christie to show the vessel as an ancestral form of the human, its presence and power as a kind of deep poetic resonance. Vessels that try to express something about water in this territory, from the silence of their emptiness to the small traces on their surface. They are modelled by hand with the techniques of pinching and Lulo.

Soledad Christie's intention is to show how various silhouettes in the highlands appear in the middle of the vastness with a kind of lightness and tend to rise in the immensity of that space. The pieces go through a first firing in a low temperature terracotta gas oven. The black pieces are given a second firing. The burnishing is done with a small river stone during the drying process.

In this series Soledad Christie wants to present the symbolic and ritual aspect of a vessel. Sowing water is an ancient Andean ritual to ask for the abundance of water. These sculptural vessels are modelled by hand with the techniques of pinching and lulo. The burnishing is done with a small river stone during the drying process. The pieces have a first firing in a terracotta gas oven at low temperature. Then a second firing is given, using goat and llama guano as fuel. The firing is done in a reducing atmosphere, which is the reason for the black colour, grays and graphites on the surface of the piece.