ABOUT ME
Portuguese, born in France in 1966, living in Northern Portugal since 1980.
Graduated in Fashion Design from CITEX, Oporto, having then worked as a designer for a decade in various industry sectors.
In 1995, in order to acquire knowledge about ceramics, she graduated in Ceramic Engineering from ESTG-IPVC, Viana do Castelo, preceded by a PhD in Materials Science and Engineering at the University of Aveiro.
For two decades she dedicated herself to academic life as both a teacher and a researcher, this allowed her to build on both her technical and scientific knowledge, and with this gain experience about materials, mainly ceramic materials, their industrial and traditional shaping processes and decorative techniques.
Although she has always worked as a designer, costume designer, scenographer and ceramist in parallel, it was at the beginning of 2023 that she decided to dedicate herself almost fully to ceramics and create her studio.
Element of the “Atelier de Cerâmica” in IPVC.
Collective exhibition “Shared Creativity” at the Barbosa Romero Library, March 2023, Viana do Castelo.
Selected as an artist exhibitor in the Oeiras Ceramic Art 2023 event, October 2023, Oeiras, Portugal.
ABOUT MY WORK
Ceramic is a great passion, with no doubt my favorite material. I go through so many emotional states during the process, from total serenity when I'm doing the finishes or adrenaline rush when I open the door of the kiln. Only then, all the work is unveiled.
I don't feel tied to a specific technique or material, but I have been exploring techniques that develop part of the texture during the process, resulting in pieces whose final appearance I cannot fully control. The outcome captivates me. It is by no means perfect, but it produces surfaces with random, unpredictable, and irreproducible patterns that are impossible to memorize in detail. This aspect greatly appeals to me, as it keeps the experience fresh and engaging. I also have come to realize that one of the things that brings me great joy is witnessing the audience being compelled to touch my pieces, even when aware that they are transgressing. In truth, for the work to be genuinely inclusive, the pieces should be accessible for handling. Therefore, I have endeavored to create my works to be felt.