Wild Local Clay
I forage local clays to explore texture and the limits of fired earth.
Some are used alone to create unique decorations, others are blended among themselves or with certified stoneware to obtains more strength and balance.
Foraged Glazes
I gather rocks, from my environment mica, quartz, and natural iron as well ad copper oxide mixes or simple clays from the surrounding mountains.
They melt, mark, and settle into the surface creating a type of depth that cannot be repeated.
Custom Orders
Custom orders are accepted. Fill out the form to discuss your project or vision.
Be advised that my process remains wild and instinctive as form and surface are guided, not controlled.
Where earth becomes expression
I work with clay, minerals, ashes and other materials gathered from the landscape around my workshop in Sax, Spain. Much of my practice is an ongoing exploration of what this land can give me: wild clays, iron-rich rocks, feldspars, micas and plant ashes, patiently processed, combined, fired and tested until they reveal their own colours, textures and surfaces.
I am particularly interested in what happens when I stop trying to impose a result and allow the material to participate in the process. Every firing becomes a conversation between earth, fire, water, time and my own hands. The colours and textures are not simply decoration; they are a way of making the landscape visible.
At the centre of my work are my small human sculptures. They emerged from my inner path and became a way of giving form to things that are difficult to express in words: devotion, surrender, presence, longing, transformation and the recognition of what connects us. I keep the figures simple and often anonymous because they are not portraits of particular people. They are human beings — and, in some way, they are all of us.
My functional pottery grows from the same investigation. I use wild and locally gathered materials wherever possible, including ash from the olive, almond and pine pruning around us. Through research and experimentation, these humble materials become glazes, surfaces and objects that carry something of their origin into everyday life.
Tierra y Fuego is ultimately a practice of paying attention: to the land, to the material, to fire, and to what emerges from within when I allow myself to be present. I don't always know what a piece will become when I begin. That uncertainty is part of the work.

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