photos © www.jenspreusse.at

How did you decide you wanted to dedicate your life to ceramics?
I’ve dedicated many years to ceramics, but I think that ceramics is only one of a number of mediums that will define me as I progress.

Why did you choose Barcelona after Brooklyn? What did you find here?
Context fuels creativity. The more experiences I have and the more places I see, the broader my world becomes. I have been an artist in Oakland, Philadelphia, Brooklyn and currently have a studio in Barcelona and Istanbul. Each city has its own personality. In Barcelona, I have fallen in love with the Mediterranean coast, small balconies, and long lunches of effortless conversation..

You have two studios, one in Barcelona and one in Istanbul, why do you keep both? Is it fruitful?
Istanbul is where I was born and raised. It is my home and I work hard to keep it in my personal and professional life. It is an amazingly energetic city with a vibrant artistic scene. It has a history of traditional craft, as well as a new focus on contemporary art and design. Being part of this chaotic city has been frustrating at times, but always rewarding.

Do you know what you want to accomplish? What is your goal in your work?
I am working on establishing three lines of work – a line of sculptural objects, a line of functional ceramics and a line of contemporary jewelry..

Can you tell us what differentiates your work from the work of others?
Everybody has a unique style. I don’t spend time comparing my work to others. I just make what comes naturally.

Do you design all your objects before you begin creating them? Or do you have an idea in mind and then make it into a form from working with the material?
I usually have a sense of the form in mind when I begin to create a new piece. However, the work always changes as it is being created. This organic evolution is one of the advantages of working with clay.

You base your work on raindrops, salt crystals, sand… Is nature what inspires you? What else do you find inspiring?
Nature does inspire me, but not only. I collect ideas from many textures that are far from natural – rust, weathered concrete and crumbling plaster.

What do you find most challenging about your job?
The business part is never easy.

What would be your ideal job?
What I do now.

Do you think pottery will disappear because of 3d printers?
I think there is room for both. Creating by hand vs. creating with a machine are just two different techniques of production and they both have pluses and minuses. I know of some very creative artists who are actually using clay for 3D printing.

Do you like working alone?
I love working alone. There is something magical about being in my own little creative world.

How did you start to become known for your work?
I believe that if you make good work and put yourself out there, people will find you.

What has been your biggest success?
I had my first solo exhibition last summer in San Diego, CA.
Jennifer Luce designed a series of beautiful tables specifically for the pieces that I produced. Working with such a talented designer and seeing my work fill up a whole gallery space was an amazing experience.

What do you do to relax?
On my own, I love to do yoga, take a tea break or go for a long walk. With friends I love to have a relaxing meal outdoors with plenty of wine and good food.

Do you have any advice for someone who is thinking about getting into the pottery world?
Focus on finding your own voice and make the best work that you can make.

I met Ruth Cepedano visiting the exhibition “Liaisons” based on Ramon Guillen-Balmes‘s work, at the Escola Llotja, where we were invited by Jordi Plana the first day that we met him to talk about our MDBY project.

Ruth has a fragile appearance, opposite to her ceramic work that we you show to you today. She began in the world of the ceramics without looking for it and now it has turned into her language of expression.

A few days before Christmas, I went to her apartment, to know more about her work, which is surprising based on the short time she has been working on it, and it is also very inspiring to know the history of every piece, its process, the energies that she puts on it and the evolution that she shows through her work.
We show you her work, but you have to get to see it to be able to really appreciate it!

Ruth, you got into ceramic’s world with a “handcrafted” vision and now you are developing a ceramic work with an “artistic” vision, where is located this barrier?
I suppose that when I began to discover the need to express myself through my work, without having to seek for a utilitarian aspect, nor to think if it is going to like or is going to be sold.

How do you decide to cross it?
More than a decision we might say that it has been a natural process. This need to express myself has been taking more force and has been turning into my way of working. Also it is related to the fact of losing the fear of doing what you wish, that is obtained working, hereby confidence and security is acquired in one itself to be able to face new challenges.
And it has been very important the support of people close to me and teachers who have encouraged me to continue working on this.

Studying at the Escolla Llotja what has meant to you?
Many things, besides a technical basic training, due to the short duration of these studies, it turns out impossible to include everything. Also I have discovered the wide range of possibilities that offers the ceramics. Later, you have to choose what you are more interested about and focus on it.
The human part and all the relationships that I have made there is something I really appreciate.

How do you see your fellow students and in general the world of the ceramics in this country?
I see that there is a lot of talent, among some of my fellow students as in the ceramics’ world in general. What I also see is that is difficult to develop a ceramic work, handcrafted or artistic. Anyway, I prefer to be optimistic, since there are persons who achieve it. For sure, always is needed a lot of work and tenacity, besides a great passion and love for what you do.

Do you think that ceramics is appreciated?
I do not believe that ceramics are very much appreciated, not even that is sufficiently known. Beyond the typical utilitarian and decorative ceramics, the public in general knows very little about the artistic contemporary ceramics, that turns out to be very sad since we can find out really good and surprising things in this area. These ceramics are not into the concept of “art”, and there are very few galleries that work with it. There is a lot of work to do to voice the ceramics outside our own ceramics “sphere”.

In a certain way, ceramics do seem a “curative” technology, how would you define what is the ceramics for you?
First, ceramics has changed my life. Yes, it might seem a bit exaggerated, but I feel it this way. I am not a girl, I have had time to try several things, not always related to the creative area, but always I have supported a concern about this aspect. With the ceramics I have found the way across which I am able to express myself. Also I think that developing my work, learning and overcoming challenges, I get to know myself better and I progress as a human being.

The technology that you use in your works is very complex if we take into account that it’s been almost “yesterday” that you began on this….
Once again I have to say that it has been something very natural. The process itself takes me to another thing and so on. Also I have to admit that I like to complete the picture and make my life difficult.
I enjoy looking for solutions to carry out the idea that I have.

What do you think of the recognition of the awards that you have got?
I really appreciate it and it encourage myself to keep working, but at the same time I think they are subjective, you can succeed in a certain place and moment, and it can go unnoticed in other. So I do not give them more importance than what they are, and I keep working.

The prizes is a way to keep working on ceramics?
The money that you get with the awards is very welcome. But the most important is that gives you recognition, important because they open doors. The most important is to keep learning and working, so that money is useful for that.

Do you obtain a financial gain or is more a personal gain?
The personal satisfaction that you get when you do something you like is the most important financial gain when you work in an artistic area. Yes, you have to make a living, and I am sure not only me think like this, but I do not look forward to become a rich person. If I can survive, I will be happy.

Your world is sculpture’s world, would you like to make commissions for any client?
I could be an interesting challenge, but always with liberty and being able to apply my own language on the piece.

How do you think is the best to reach the public, participating on competitions? To make exhibitions in galleries?
Competitions and exhibitions are good ways to show your work. Although galleries are difficult to get into them, and there are few galleries who work with sculpture and even less with ceramics.
And do not forget internet, is a good way to explore to be able to reach the public.

How would you like to show your work?
As a mature and coherent work. Not to be just something aesthetical, to have a conceptual and emotional content. I am working towards it.

Which is the image that you would like to transmit through your pieces?
What I try is to convey emotion. Probably, it will not be the same emotion that I have tried to convey, but it does not matter, each person has his own interpretation, based on his experiences. What I am happy about is not to cause indifference.

Would you like to work in collaboration with any artist?
Well, i have not thought about it yet, but I am open to proposals. All experiences can be very interesting and you learn from each one.

What is your next goal?
I like the concept of an installation. To change the scale, from a unique objet to group of them who interact to tell a story.

How do you see yourself in 5 years?
My goal is not to stagnate, to improve. I hope that in 5 years, I can be learning and improving.

And in 10?
The same, if I can see myself in 10nyears in the same way as right now, that will mean that I can make a living of this, and that will be perfect.
Another thing I would like is to be able to share my knowledge with people that begin, that will be very satisfying.

PAST

I always…. have been appealed by colour
I grew up… going to the theatre with my father and with my mother’s care.
When I was a child… I wanted to be a diver.
I’ve never thought about myself… drawing footballers silhouettes for a newspaper.

PRESENT

Right now… I enjoy with this interview.
My favourite hobby… spending time with David.
My work means… an 80% of my regular day.
Working…. I can do the things that I imagine.
I feel like at home… when I’m with my friends and family.
On a rainy day… movie, blanket and sunflower seeds.
I couldn’t live without… doing what I like.
I’ve always wondered how… travelling through the cosmos might be.

I don’t know….. what would happen next month.
I wish I knew… other languages fluently.
Everyday I like… having an orange juice for breakfast.
I wish I could… hire lots of people.
I’m a great believer in… work.
An open secret about me… I get angry when I’m hungry.
I wish I had….. a huge budget for buying 200 g. gold pots and try and try without being worried about their costs.
A perfect day… today.
Art is something… based on the experience.
If you are going to travel… to Tokio.
I get bored when… I stop improvising.

FUTURE

Someday I hope I can… make a family with David.
I would like to be… a dancer, it’s something that’s always appealed to me since I was a child and I would like to return to lessons quite soon.
My next step is… artistic work, installations, performances, giant sculptures…
In ten years…. I see myself running J.A. part as a business, part as an artistic lab and part as a school.

And today, Minji Jung is an example of this! A ceramist from Korea who I got to know through Escola Superior de Disseny i Art Llotja, one of the most ancient Art Schools in Europe and two amazing people who teach there, Montserrat Altet and Jordi Plana.

What means ceramics for you?
It’s what I like and what I can do well!

You live now in Barcelona, what would you choose from your Korean culture and from Spanish culture?
Specially I appreciate diligence and persistence of Korean people and optimism and confidence of people in Spain.

You came to Barcelona, and you began classes in La LLOTJA, what did you learn there?
Specially I learned the material of Ceramic and I was able to have thorough understanding of its features.

You call your work “artistic ceramics” but with a function, and each of your pieces has a concept really nice. Would you like to explain that concept to anyone that sees your work, or you leave people to dream about your pieces?
I prefer to call my works just ceramics actually.
I overweight how my works look like to what the concept of them. Not to mention, it would be greater if my art works have both. I strongly believe all, either artists or an audience, have a right to appreciate art works in their own ways. I don’t want to interrupt them. And what I want to do share my ideas with them.

You describe your series “perspective” as: “not everything is as we think we watch it”, what did you learn from life to think that not all is how it looks like?
It sounds like “don’t judge it by its cover “. I’ve been learning these ideas in my life with conversation and learning one another. I strive to know what lies beyond its look and try to reflect what I feel into my works.

“We are not equal, we are special” this object is fantastic, delicate as a person, with different layers as a person, how did you find out this idea to show that concept?
I spent much of my time on ceramics and I make it a habit to jot down every ideas coming up and file them so that I can make use of them anytime they are needed. I try so hard and experiment to find the best ceramic skills to create special works. When the concept which I have in mind matches successfully experimented skills, my desired art work can be make.

What differentiates your ceramic work from others?
Well,, I am not sure…, what do you think? …..

What means each color you use?
Each color I use for my work shows the growth and potential it has.

Why don’t you teach??
I have a workshop which is too small to accommodate students.

What do you find the most challenging about your job?
The hardest part is delicacy of porcelain.

Which would be your ideal project if you wouldn’t have any other thing to think about?
Perspective.

What do you think of 3d printers?
I think it is great! I am going to buy them.

Would you like to make project collaboration with some artist or not artist?
I’ve already done a few projects with other artists.

What you like more in your work?
The very moment to take out a piece from a mold.

What you do not like?
I have mixed feelings when my artworks are sold away.

Which one has been your biggest success?
Of many other works, I would say “We are not the same, We are Special” series

You are going back to Korea very soon, anything that could avoid it?
No, it would not happen that I don’t go back to Korea. It doesn’t really matter to me where I am.
However, I’ve consistently looked for a place to make better ceramics and I found that would be Korea.

An advice for someone who is thinking about getting into pottery world…
Have patience. Ceramic may sometimes make you cry but I’m sure it’s worth entering into this world if you are into it.

PAST

I always… look into things very close

As a child, I wanted to be … My parents say that I was always doing origami pieces even before I learned how to read, they had to read me the instructions. I guess I’ve always wanted to do things with my hands.

College was… very creative

I never saw myself… working in a boring job

PRESENT

Right now… I like what I’m doing

My favourite pastime… is looking for inspiration

My work represents… beauty in the simplicity

Working… is fun

I choose to work in my medium because…I can focus on the details and make special pieces

On a rainy day…I turn the melancholy mood on.

I couldn’t live without… sunlight.

I’ve always wondered… how do you know for sure if you’re doing the right thing or not?

I wish I knew… the solution for everything

Every day I like… to go for a walk to the Retiro Park

I love … gemstones

A little secret about me… I love tiny things

I wish I could have… a huge, old studio full of tools

A perfect day… can be any day

I would travel to… Madrid, go to the Retiro Park at sunset and sit down at Alfonso XII monument

I get bored… easily and then my thoughts take the control

FUTURE

Someday I hope… I’ll have my own studio-shop/p>

I’d like to … show other people the beautiful world of jewellery

My next step is… learning something new about gemstones

In 10 years…. I hope I’ll be proud of myself

After observing your jewellery pieces and your personal background, lots of questions come up to me… is there anything that attracts you to ceramic and jewellery world that doesn’t appear in fashion design?
Ceramics imposes its own times; it somehow forces you to be patient, waiting for the pieces to be dried, for kiln to be cold… However, everything related to fashion design is meant to be ready for yesterday, meaning it’s stunningly fast. My experience related to ceramics creative process is far more personal and I can continue updating and changing a piece even if it’s already marketed or distributed, it can keep evolving.

What’s in fashion design that you don’t like and made you leave?
I like Fashion more and more, however, it’s true, I find dedicating myself to textile design extremely complex… I guess …due to its intensive schedules

You studied working with other materials such as wood or plastic before working with white clay?
While I was coursing my Master studies at IED some years ago, we worked with hydraulic tiles, vinyls and paper. Now, I’m thinking about how I can apply some of the techniques used with these materials to ceramics. At Mad is Mad exhibition, my brand starting point, I first worked with red clay which was highly intuitive, I may use it again. After that, I moved to white clay which was optimal to what I was looking for at that time.

Which colour represents you? Does every colour have a story and a cause behind it?
I love this question! Some time ago I would have answered dark blue, petrol blue almost black, I love that tone. Now I feel it’s changing, it’s funny… but I would say I rather identify myself with a pastel pink, nothing to do…

Way more than just a story, colours generate experiences, emotions; working with colour is intuitive, I would say that it’s the thing I like most doing.

Could you tell us any secret about your next collection?
Colourful, marine elements and monsters.

Where do the names of your collections come from?
Cosmos and universe is something that fascinates me, it’s a huge source of ideas. For instance, Cuerpo Celeste is a concept that I love, that was the name for Ángel Schlesser’s collection..

You have worked with Angel Schlesser, now you are making a collaboration work with Alma Alguilar, how is working with other designers?
It’s really interesting; it varies significantly from one designer to another. Working with Ángel was about adapting my collection to his own collection through colour and little shape variations. Working with Alma is totally different, it’s about designing little pieces like buttons and beads exclusively for piece of clothing for a specific customer.

Who would you choose to work with?
If I can dream about it I’d love working with David Lynch or Alexander Calder, Martin Margiela, Delfina Deletrez...

Right now you have a small team that helps you with all the work at your brand, how was at the beginning? I guess you started it all by yourself.
Yes, I was alone at the beginning, I run with all the duties from designing pieces, making bills, buying materials… Now, we are a little team but highly productive. It’s amazing all you can achieve just by working on a team.

Do you lean on your team?
Of course, it’s been a short time since they are working with me, however, they became essential for me.

You teach at IED, what do you like about teaching? Is it hard?
Teaching always means studying and doing research.

What do you learn from your students?
They are always asking, they’re anxious about knowing more and more, fortunately that is contagious.

Do you think that without your communication agency it would have been harder getting to where you are established right now?
Yes, the investment Lycland made on my project was indispensable.

Do you do well at selling your pieces in trade fairs? Do you like dealing with major buyers?
I like it, but there’re a lot of things that I still have to learn in that way. Now, I understand why there are people who exclusively work on it.

And what about dealing with public in design markets such as Central del Diseño? Has it taught you anything?
Design Markets like Mercado Central de Diseño are a high volume of people buzzing around, possible future collaborations, new projects, new ideas…

If you could have an entire space for you to make a Solo Exhibition, how would it be?
There are some spaces I like in Madrid, like La new Gallery or Espacio Valverde, and of course, any commissioned by MDBY.

You care about your corporate image, you have fantastic pictures of your pieces travelling through the net, and working with a team… do you manage the stage and the final image you want to transmit?
Yes, since the beginning I thought it was extremely important; this is what leads you to reach your goals. J.A. brought me the opportunity of working with amazing photographs like David Díez, Rocío Montoya or José Señorán.

Next step, maybe to design your own packaging?
Right now I’m designing new home objects and dishes, unique pieces too. We’ll soon open a section in our online store called “Unique” for unique pieces.

Do you like doing this kind of interviews?
Yes, it helps me to make a pause and think about what’s going on and what I want to lead my next steps.

Which is your favourite own design by now?
One I’m currently making, it’s only ideas and some tests on clay. Hope I can show it as soon as possible.

Which one is your best seller?
Needless to say, the bicolour small ball with the turquoise blue one, it’s by far the best seller.

Which is the toughest aspect of your work? And the one you like the most?
The economic management is the toughest part of it.
Developing new products is what I like the most.

Which will be your ideal order?
I love this interview, hahaha. My ideal order might well be a large format sculpture, a totem made with pieces that move and twist with several speeds, I’ve been thinking about it for a while…

Would you change any of your professional past career if you could?
Professionally… I don’t know. However I would have dedicated much more time to my languages studies.

Is there anything you would repeat even if it’s crazy, just because of the experience?
Quitting some jobs, maybe at that time I didn’t have any extra income, but lots of opportunities quickly arose and lead me to a whole new world.

Fenella, I really like your work; the 3D clay sculptures are very attractive. How do you define your work?
I don’t know! Although I like that it is difficult to describe, when asked “what sort of ceramics do you make?” I tend to say “structures and textures in porcelain made from many parts”.

Whenever I see this kind of creation, I always ask myself how someone gets to see themselves doing this type of work; I find it amazing. I know you began late, after a mental health career, but how did you come up with this kind of clay work? Did you develop these techniques by yourself?
The work evolved gradually through many experiments, now in cupboards in my workshop. I tend to have an idea, often in bed, and then set about trying to realise it. I never manage, but along the way, I get distracted by small achievements and then I become absorbed by trying to develop them into a new line of work. All works came about because something else didn’t work! There have been many dead-ends, but there are also several routes open and waiting…

What are you inspired by?
I look at things very carefully, especially natural structures and nature’s buildings. I also love to look at other makers’ work, especially textiles and basketry. Music transcends all.

Do you think about an idea and draw a sketch, or it is through the working process that it comes out?
I spend a lot of time planning in my head and sometimes drawing and looking in preparation for a work, but I find that having references in front of me when creating is too contrived – it is better to prepare, put preparations away, and attend to the work.

How do you fabricate your “Edges” series? I find them amazing and they seem really difficult to make…..
I cut a big sheet of porcelain into strips and (catching them at just the right time) bend and stick them together with slip. The most difficult are the structures I build on a kiln shelf so that they can be eased off onto linen for over-stitching by balancing over the edge of a table. It’s scary!

Any surprises when opening the kiln after the firing process?
Always, it is a surprise to see how much the work shrinks. Although I like chunky work, I find that I don’t make it! Fine porcelain is fragile, tears in the kiln and shrinks by up to 20%.

How long can it take to make one of yours creations?
I tend to create over a few weeks, but will have several stages of work on the go at the same time.

For whom do you fabricate these pieces? Do you ever imagine the final client?
Galleries – I make what I want, private commissions/ agents’ commissions – they tend to trust me to create within perimeters.

Do you miss your job in mental health world? Or do you find a way to apply it through your current works?
I left because diminished government funding reduced services to something I didn’t want to be a part of. I miss using my mind to help people; it is a skill gained through much training and experience and I think it is a waste not to use it. I am in the process of finding another way to combine ceramics and people development. Meanwhile, the psychoanalytic approach is very much alive in the process of making; noticing the fleeting, enabling chance, attending to emotion, holding delicate truths.

What would be your ideal project?
I don’t know – I like my work – not sure how to be even better, except if travel was involved.

You work on your own, do you feel good working alone all day long?
No, I get lonely, so I listen intently to music and radio arts programs.

What is the most difficult thing in your work?
The many disasters and the physical endurance.

Which has been your biggest success?
To be able to earn a living from my work is wonderful and to be awarded prizes from the ceramics community is a great affirmation.

What is beauty for you?
Something captivating.

Any advice?
Persist!

How do you define your work?
It is design. Cultural research, understanding what is at the root of the problem/need/desire/pleasure and pinpointing it. Somewhere between problem solving and envisioning.

How did you begin? Was it hard?
After graduating next to our own studio, we were jobbing at other studios. It is very competitive and you have to try and get all the attention for your work straight away.

Have you ever been discouraged?
Not really, if you have hard work to do and you know what needs to be done then that serves as motivation.

What would be your ideal project?
Combining humanitarian goals with surprising/new techniques or technologies and having the freedom to formally make something out of it.

How do your ideas come up? What are your sources of inspiration? Are you influenced by anyone in particular?
Inspiration comes from daily life, humble and simple solutions that have proven themselves over the years, and the beauty of nature and traditional work. I can’t say that I am influenced by anyone in particular but a lot has definitely happened before and whether it is getting inspiration from it or protesting against it, it is for sure a reaction from it.

Have you ever had a mentor that has supported and guided you?
Well, I have had many good teachers among which were Jurgen Bey and Gijs Bakker but Dutch education tries to enable you to guide yourself, make you self sufficient and I think that this is optimal rather than having to rely on someone else.

What is the philosophy of your firm?
Trying to make sense of the ever so fast changing world and that beauty always has to do with properness. Usually it evolves by itself, however as a designer you have to do it in “fast forward”.

What is beauty to you?
Unexpected and surprising ways of making sense out of something, of adapting and achieving goals, of cutting a niche.

Tell us how a normal day in your work is…
Organization and communication, check running projects with assistants, then finally creative work on new projects, though the breakthroughs get really clear often out of office hours. In the office you do ground work, visualizations and tests.

What is the most difficult part of your work?
The tension before the breakthrough comes.

What do you like most in your work?
The freedom of thought and experimentation. The beauty of intuition.

What has been your biggest success?
There are a few, the Dusk Dawn mirror, the Wrong Color Furniture System, Inside Out furniture, the Virtual Florist.

You work with a 3D printer and a laser cut machine; do you make some prototypes by hand before using these machines, or do you just have an idea, design it in 3D and then fabricate it?
Actually, it is more like the second and after a while you understand what the machines are capable of, so it becomes easier along the way. Handmade models are more for shape and proportion but they cannot tell you how the material will behave. Another thing is that 3D printed parts can be very intricate so you usually don’t want to fabricate them by hand.

What do you think about the use of these kinds of machines in the artisan world?
I think it is relatively unrelated since craftsmen are really about their skills and handwork and people like the preciousness of certain materials and these are not things that you can get from 3D printers. Goldsmiths use 3D printing to create models for lost wax casting for example but the technique and skill is still necessary to get the final result. I guess they use 3D printing more like a tool to supplement their craft but not exclusively.

Once you have the porcelain laser cut, do you glaze it by hand or is it also industrialized?
The porcelain is not laser cut; only the molds are made using the 3D printer. The porcelain is then cast and glazed by hand.

In your CadCam tableware, you do not use bright colors; everything is in white with some light pastel colors. What is the reason for that particular use of color?
We were trying to find different styles and see how they would interact with the language of form since the shapes are quite different from what you usually see in porcelain.

What is the process you go through to design one of your pieces?
Every project has it’s unique demands and processes but in general there is research to develop the idea, choosing techniques, materials and colors, design sketches with model making, finding a way to fabricate it by an independent or a company, then prototyping, documentation and finally a launch.

Any advice?
For young designers I would say: have patience, perseverance and think and develop ideas that can grow and stand rather than going for short-lived fads. It is good to look at what other people are doing but in the end it is important to find your own personal thing.

Celia, why jewellery after having finished a degree in Architecture?
There are many ways of thinking Architecture, and the one I’ve always liked the most is the content one, with a justified minimum answer based on details, not so much the magnificent works with huge shows. In my final degree project, which was an ideal project for me to do, I already experimented with this world of details, planning a building which grew along the time by a series of different pieces anchorage in different positions. The most important part was designing the mechanism, its joints… beginning from the smallest parts in order to make it grow.

This is just a look into Architecture, but it also can be applied to jewellery and I love that.

5. How do you express your architectural knowledge through your jewellery brand MIGAYO?
Architecture and jewellery have one thing in common which is that they are both used. They are at the service of people so their shape must be coherent with their needs.
My philosophy is that beauty is a result of finding solutions in a smart and simple way.

The multi-faced bracelet is an example of this way of working. Its form is pure and minimalist, its folding angles flow with the wrist shape, working or writing while wearing it much easier. Its closing system is included in the design, it’s not an extra element and it’s designed by using metal tension. This simple element is in harmony with the entire piece and becomes the focus of it.

6. What is your inspiration for designing your collections? The material? The shape? The colour?
It has more to do with the structure. For instance, in “Organisms” collection I play with natural, organic and soft shapes cut in the wax blocks, that I afterwards melt into metal moulds. In “Minimum” collection, the silver thread allows me to shape and add details… Right now, I’m exploring the metal tiles folding which will end up in another collection.

Are you inspired by any designer in particular?
I usually check on relevant jewellers work such as Kazumi Nagano or Giovanni Corvaja, whose pieces have an apparent simple balance, while hiding a complex perfect technique. I also search for inspiration in other fields of activities like industrial design or even architecture.
I always find inspiration by going through the history of jewellery. In the past, a piece of jewellery had a significant symbolic power, meaning protection, hierarchy or membership in order to make a difference. I often write some opinion pieces on my blog about Etruria jewellery, classical Greece or Art Nouveau pieces.

5. What is your ideal dream work you could see yourself having in five years from now?
I’d love to keep a balance between made-to measure jewellery and collections like I do have right now. I’d also like to have a list of clients that would allow me to build all the pieces from a collection in noble metals (silver, gold and platinum). Actually I make each piece in silver or brass, gold is only used for special orders.

Is “made-to measure” for special orders the best way of expressing yourself in the world of jewellery?
It does for me. Adapting the piece to someone’s needs and personal background brings out a different and complex creative thinking, which I really like. Besides this symbology I was talking about earlier; the meaning of this kind of jewellery is powerful.

For you, what does a piece of jewellery have to express?
I think that a piece of jewellery goes with the person and it must be coherent with their style because it’s the key element that defines it.
The way we express ourselves through our aspect is quite curious. How do we choose the clothing, shoes or complements that we wear in order to be comfortable and transmit a determined image? You need all the elements; depending on your likes and dislikes you might chose one pair of shoes among others, but you’ll definitely wear them because you need to. On the other hand, jewellery is a special element, wear them or not, it’s optional. Their symbolic meaning helps you to express yourself and to make you feel nice and comfortable with them.

Are your pieces made for all kinds of hands? All kinds of people? Or are you thinking of a certain personality?
My pieces are simple and delicate; they create focus of attention to those parts of the body. They aren’t the main characters, so it could be said that they are thought for people who don’t hide behind big pieces of jewellery, but rather search for what’s natural and handmade.

What does colour mean to you?
I search for happiness, an effortless sensation and that also happens with colour. I like a natural colour palette, with earth tones, metal tones, and untreated gems… I try to keep away from stridency in shape, so also in mechanisms and in colours.

You design the pieces and you also build them…did the learning period take you a long time or is it in constant evolution??
Previous knowledge is needed. But after reaching them, it’s a perseverant individual evolution in which you learn and even develop techniques from your needs and your jeweller style. This is a very interesting period, refining building solutions that might have failed in the prototype piece.

How does the fabrication process go about?
Knowing how long it takes you to make a finished piece is highly important in order to fix the final price rate. On one hand, there is the design process length, tests and models, which I don’t measure because it might be irrepressible, but on the other hand, I do for the fabrication process. I try to measure each part of the process, however, this is a hand-made production and you must be aware of the existence of possible mistakes that can delay you and pieces that might sometimes break.
Mainly in jewellery, working with valuable tools and pure materials, you have to work quietly and carefully, forgetting a little bit about the timetable.

Each piece is unique; do you name them or mark them in any way?
I should have a better system to name them, actually. The official name is how I call them through the design process. Unresolved task!

What have been the worst and best experiences in your professional life up until now
The worst one was the incertitude before I decided to take the plunge. The best one was meeting somebody in the street wearing a piece of jewellery that I had hand-made.

Would you like to make a collaborative work with any designer or artist?
Yes, of course. I think joining forces between different disciplines is something creative and rich, so I’m open to any possibility.
I find there is a big relationship between jewellery and clothing to defining somebody’s style. I’d love to do a collaborative work with a fashion designer like Jorge Acuña or Amaya Arzuaga.

What would be your ideal order?
Those pieces that go with a special moment in somebody’s life are the perfect types of orders. The design process is even more beautiful when you know that the piece is attached to a feeling or experience.

What are the toughest and the best aspects in your work?
The one I like the most is the handmade part, being quiet at my workshop working with the pieces, mainly with prototypes, doing research and trying to stay true to the original idea I had in mind.
The hardest aspect is finding where MIGAYO takes place, how my brand should appear while still keeping its essence.

Is there something that scares you right now?
I’m afraid of bad reviews of my pieces. I know this is something you have to take for granted, you cannot satisfy everyone; however, this is something quite personal because it’s your idea, your design and your manufacturing.

Is there something you would repeat even if it was nonsense, let’s say just for the experience?
Moving to Kuala Lumpur. While I was working on my final degree project, the opportunity of moving there to work at an architectural office for a year came up. Moving alone to a country that I didn’t know anything about meant a stop in my career and in my degree (in fact, after coming back I restarted my final project).
At the beginning it was quite hard, but it turned out to be a unique professional experience in terms of personal gain of knowledge, it allowed me to stop, think and take a look. I met wonderful people completely different from me; some of them had gone there in order to radically change their lifestyles and others were natives from all different cultures from Malaysia.

What is it like to take part in design markets and fairs like Mercado Central del Diseño in Madrid, in Matadero Madrid?
This is a really good experience, these kind of events are perfectly organised, give you visibility and let you meet other designers whose work is highly interesting and full of illusion. That is very helpful.
There’s another kind of consumption, more deliberate, where people buy with love, they are interested in what’s behind each piece. I love telling them about the whole process, this is something that they enjoy and gives great value to the piece that they’re buying. Due to this, I’ve documented everything on my

How do you define your work?
Bright new ceramics, which are innovative in shape and accessible for lots of people.

How did you begin? Was it hard?
First start of with experimenting in shapes and trying to get to know the process of ceramics. Searching lots of tips on the internet and experiment with all types of glaze to get what I wanted. Very hard to keep you motivated, after months of almost no result.

Have you ever discouraged?
When finally I open the kiln and the glaze process did not succeed. After lots of work, the pieces are useless. But these setbacks need to be overcome to keep doing what you love.

Which would be your ideal project? Do you have such one?
Ideal project is ultimate design freedom. No limits on size, cost and material. Trying to create a object, which lots of people like.

How your ideas come up? Which ones are your sources of inspiration? Are you influenced by anyone?
Ideals come up after lots of browsing on the internet and always paying attention to small details. Try to think of something new and you have not seen before. This is what will keep the products original.

Have you ever had a mentor that has supported and guided you?
In my early ages I assisted my dad with lots of maintenance projects around the house. From carpentering to painting, I learned the fundamentals and still use these.

Which is the philosophy of your firm?
Try to create something new which will be accessible for lots of people. Be innovative and discover all properties, which a material has to offer.

What is beauty for you?
A perfect balanced product, it is performed in what it is supposed to be. Great material usage and from the moment you see it, it is immediately clear how to use. No manual required.

Tell us how a normal day in your work is
I arrive by bicycle in the early morning. First start a batch of slib casting and let it set. During this time I have time to check email and plan the rest of the day. Rest of the day will be filled with, grinding and glazing the objects. During the day a second batch of slib casting will be done. At the end of the day, the kiln is loaded so it can be fired during the night.

Which is the most difficult from your work?
Keep yourself motivated after several setbacks.

Which is what you like more from your work?
The freedom of creating your own path. Creating products I really like and being surrounded by them.

Which one has been your biggest success?
From now on the Poligon tableware collection is the most successful.

Nina, in your work there are two elements, whose combination in ceramics is very attractive: fire & architecture. Whether it’s for your “fire sculptures” or even the smaller ones, these two elements are never separate. What is their meaning for you?
Architecture is sculpture and ceramics has always been a part of it. A house, for example, or other buildings are made of bricks and bricks are ceramics.
As for fire, it is an essential element of ceramics. It’s part of the process and it wouldn’t be ceramics without it.

When did you decide to make ceramics?
When I was a teenager I heard about a place where you could make clay and I knew then there that that was what I wanted to do.

Have you found what you were looking for in life through your ceramic work?
No, I don’t think so. I am still looking and think I won’t find it in clay. It does not mean I don’t enjoy it though.

What are your standards in life and work? Do you even divide them into two categories?
I think work and life go together, but I still try to keep my family life and my work as two separate things.

How did you learn the process you use in your work? Did you make lots and lots of prototypes?
I developed it through testing; trying and trying until I got to where I am now. And I keep trying to find new things.

Your principle is: “no limits, only opportunities”, but sometimes it is really hard to go through certain issues. How do you do it in your life?
When I was young I used to think this way. Now I know there are certain limitations that can slow you down. Having said that, I think it is a wonderful and necessary attitude to have when starting on your career.

Could you explain (if possible) what you feel during the different steps of a “fire sculpture”?
Excitement, curiosity, sensibility to the environment, responsibility to the place. Concentration during the whole process and relief when the project is done and is successful.

You sketch beforehand, from where do you get your ideas?
From drawing. I take ideas from everywhere, situations, places, and people.

Does working on your smaller sculptures give you ideas for your more monumental ceramic sculptures? Or do you just make different sketches for each scale?
I sketch separately. Sometimes they feed each other. But they are usually two different things. I do make small models for the “fire sculptures” in order to calculate size and firing.

In a sense, you are a “clay architect”, why not use an even bigger scale? Have you ever thought about it?
That is a very nice title. I have thought about making bigger sculptures, I just need the right time and place. It would require the involvement of more people like architects and engineers. It is a big challenge.

What would be your ideal project?
There have been many ideal projects, and still many ideas to explore. The ideal is when time and resources are not a problem.

What is the most difficult thing in your work?
Everything is a challenge. Getting to a completely different place that you are not used to being in and working with the materials you have; but that is also very inspiring.

What do you like most in your work?
Overcoming challenges and solving problems, and of course, firing kilns, it gives me energy.

What is beauty for you?
What I find beautiful is simplicity. In my sculptures I do not work for beauty but for expression. Beauty is not what I seek.

An advice?
Advice is difficult to give because the world is a different place from when I started. I could advise to seek education – go to school. The more education you have the better you are in the world. And to network, talk to other artists and work with them. It will open your creativity and your horizons.