The fact that ceramic can be converted into concrete forms and shapes finds its place along history.     .

I can refer substance as a native element, or the clay that I can knead until I reach the desired structure.

My first step begun choosing white and black clay knowing that opposites face off to meet again in another dynamic, selecting also for the first production small circular formats, that later will change by the action of overlapping and folding in the easel where my hands knead the dough playing with unexpected balances.

Both my emotional life and my rational life were at stake there and concrete over abstraction. My vital energy was in a continuous movement that modified my work.

There is a moment in every artist when we know what they are searching for and when that moment arrives we feel an urgent need for activity, that is why to be alert turns important every movement until it finally emerges.

During this lockout my personal introspection as well as my research allowed me to be deeply involved in this activity and free to make these movements without knowing that in Japan existed an ancient technique called “Nerikomi”.

The images that appeared in the small circular formats would become in what we see as “paredolia” just as our brain find formats wich are processed perceptions and information that somehow we store in our memory.

Virtual image is important because the signs not only reflex but also involves   imagination.

In the small circular formats, the flat element acts as an image and as blueprint at the same time that is how you can modify the distance between figure and background.

The following step was the need to combine the inside with the outside and as the volume appeared giving the pottery -that due to the treatment they went through are unique pottery pieces of a height size of 3,14 inches with a diameter of 7,28 in.