As far as your ceramic products are concerned, it seems to be very important to you to make practical pieces for everyday life.
Yes, I try to produce work that is sensitive, but also useful. I make ceramics: I can do what the material allows you to do. But if I make a little box, I want it to be useful for storing something, even if it’s very small. It’s not an obsession, but I do care about how to go from something that’s merely decorative to something that’s useful. I think that if you can manage that, it’s a plus. Because it’s not just about decorating the home, it’s about being able to use a box to store something in. It’s about giving it a use: just like a necklace, which adorns the neck like a garment and is something we’ve always done.
Is your work art?
It certainly can be art, but to me, talking about art is putting it on a higher echelon. I consider myself a craftswoman, a creative person with a vocation. Art is another level: it’s what you see behind the work. You can play at being an artist, but not everybody becomes one. Do you see what I mean?
You have not hesitated to incorporate new technology into your daily activity. For what purpose?
I like new technology, I like high temperatures, I make the pastes myself, and nowadays I can work with firings at 1,250 degrees centigrade. There’s such a range of possibilities, there are so many different techniques now, and you can do so many things. I think it’s an advantage to be able to use this progress. It enables you to revive elements like beads, which come from long, long ago, in a different way. For me it’s been very interesting to be able to make them in white paste and colour them. We’ve done this with necklaces, earrings and bracelets. If I limit myself to the traditional ways, I’ll have to stay at 900 degrees.
For me it’s been a real experience to discover higher firings; the higher the temperature, the less porous the piece is. It enables me to evoke sand, for example, which is a concept that we islanders carry deep inside us.
What is the intention behind connecting your pieces with aboriginal art and with the islands?
Yes, there is an intention behind the Canarian motifs. When I was a child I was told I couldn’t bathe, but I could go and look for conch shells. I still make that link today. The sands… I can talk about the difference between the colours of the various sands in Fuerteventura. The sand, the lava, the malpaís… they’ve been my medium all my life. That’s what I want to transmit. I like to , to texture them on the outside, and then I want them to look like a volcano, the sand, the sand with the lava. As a Canarian, what I want is to capture all that.