Goldsmiths, University of London; MFA, NYSCC, Alfred University. Co-Founder/Artistic Director, European Ceramics Work Centre, Netherlands. Solo Exhibitions: Centro Galego da Arte Contemporanea, Spain; Suburban, Oak Park; James Harris, Seattle; Vitte Voet, Amsterdam; Kunstforum, Switzerland; FLS, Spain. ARCO, Madrid. Collections: Centro Galego da Arte Contemporanea, Spain; Etela-Karjalan Taidemuseo, Lappeeranta, Finland; Taipei Fine Arts Museum, Taiwan; Jingdezhen Ceramic Institute, China; Boijmans Van Beuningen Museum, Rotterdam; Asheville Art Museum; Museé Ariana, Genéve; Macao Museum of Art, China; Museum of Fine Arts, Boston; Ateliers d'Art de France. Bibliography: Tras dos Agros, Catalog; Descriptions without a place, Catalog. Awards: Ministry of Culture, Spain; National Endowment for the Arts.

Personal Statement

Although there is a purpose it is of the poetics and a matter of discovery and rediscovery as the work progresses. The surfaces, the skin are more like a place, a surprise through form, color, light and material present and pulsating.

An attempt to coordinate what I know and the not-yet-known, persevering for a result that is not a conclusion but an event that is visual, compelling physical and a mental space. Something that is not easily consumed, something big and universal, it touches on the real, is aware of the historical moment but un-consumed by it.

Central to the work is color. Made with clay with the palm at the back of the mind: an object that is fluid, electrical, absurd, theatrical and existential with wild lone beauty. The intention is not narrative or allegorical, but to present fluttering inventions. The meaning wants to mingle with sensory experience and the possible emotions that the sculptures desire to generate.

The self-conscious attempt to name beauty is for me one of the clearest pursuits precisely because is tentative, anxious, incongruous, inconvenient, almost a scandal with no path

I try to create circumstances in which students feel free to act according to their own initiatives and desires. The intention is to make a place in the classroom, the studios and the labs, where the student and myself can talk about anything. At the same time I want to create conditions for language and learning to be very specific, never arbitrary. We encounter multiple paradoxes working this way and it is often in the contradictions where the best dialogue takes place.

I believe in learning by doing and doing with others. In the ceramic processes is very convenient and almost inevitable to cooperate, not necessarily to collaborate, but to learn how to work together with our individualities. We all try to understand these complexities in the classroom as clear and easily as possible as we go along. It takes a while to learn how to talk to each other. It is not about being social or being into social concerns but to choosing when to be social and when to work alone, when to reflect with the group and how to think alone and independently: To learn not to follow.

I give the student plenty of time and space, to be curious, recognize errors and enjoy not to know. We don't have to justify why we make art, it is at its best when is an adventure.

Current Interests

Art, She.


Disclaimer: All work represents the views of the INDIVIDUAL ARTISTS & AUTHORS who created them, and are not those of the school or museum of the Art Institute.