29 June, 2016
How did you first get into what you do now?
My mother’s an artist and my grandmother a potter. To speak more specifically, as far as I remember, I have always been into the kind of art I do now, although I went through a phase of over-conceptualising my work and giving it a sort of didactic nature. Since overcoming this some years ago, I have come back to a free, satisfying, rich form of expression that is very similar to what I was doing as a child.
What is your favourite tool?
My hands and my mind, always working together and simultaneously.
What inspires your designs?
Everything that has a certain depth; what is strong and assertive is what I find most potential to build onto. This sounds quite vague, and indeed it encompasses various and diverse things such as wilderness, thoughts or food, but in my mind it is something very accurate. It could perhaps be described as matter and life. Finding poetry in these is how I start to work.
How do you overcome creative block?
I don’t get creative block, at least I haven’t since that phase I mentioned earlier. In a way, I am inspired more than I get inspired. This is maybe to do with matter and life, sources that are in such direct contact with the self that inspiration happens immediately and continually.
If these sculptures are all that remain of your work in 1000 years, is there any place you would like them to be found?
In 1000 years our world will be a very different place and it is hard to guess what will have kept some sort of relevance. The most I can hope is that they end in the hands of someone who is righteous and to whom they may speak.
The muse is often defined as “a woman, or a force personified as a woman, who is the source of inspiration”. Do you identify with this at all in your work?
Yes, in the sense that I love and am obsessed with what I do.
What figurative artist most influence your work?
It changes all the time, but Bernini and Picasso are always with me.
What are you currently working on?
Another giant relief of glazed and gilded terracotta. This one is like an immense Arcimboldo where fish, pumpkins, onions, birds, poppies, flowers and shells form a 4 meter wide face. The work is at once sculpture, drawing and painting, reliefs, motifs and colours. It will be exhibited at the sculpture Triennale at the University of Lausanne, Switzerland, and on display for at least a year.