There are materials we choose because they solve a technical problem, and others that change the way we think about the surface of a sculpture. For me, gofun belongs to the second group. I first became interested in it because of its appearance: a quiet, mineral white, extraordinarily matte and very different from the flat opacity of modern paint. But the more I learned about it, the more fascinating it became. Behind that apparently simple white surface lies a material with centuries of...

When people see one of my sculptures, they usually see only the final moment. A quiet figure, a gesture, an expression frozen in clay. What remains invisible is everything that happened before. The ceramic sculpture process is a long journey filled with uncertainty. Unlike painting, where a mistake can often be corrected, clay remembers every decision. Every stage depends on the previous one, and a single crack or hidden air pocket can undo months of work in a matter of hours. It all begins...

Casein Paint: When the Surface Becomes Part of the Sculpture When we think about ceramic sculpture, we usually focus on modelling, anatomy, composition or firing. Yet there is another element that can completely transform the way a sculpture is perceived: its surface. For me, the finish is never an afterthought. It is part of the sculpture from the very beginning. It can make a figure feel ancient or contemporary, fragile or powerful, warm or distant. More importantly, it can either support...