I try to combine two notions in my practice, experimenting the limits of the clay material and seeking for an authentic aesthetics. The two notions are always in dialogue. While sometimes I am pushing the limits of the material for the sake of an aesthetic research, sometimes I allow the material limitations to shape a new form language. This is why I always use the word “experimentation” to describe my practice. I do designs but they are not definitive, there is always room to transform the piece after I start to shape it. It is like a constant dialogue between my hands and my brain. This dialogue allows me to make experiments, and this way of experimentation provide me joy and satisfaction. If I knew the exact result before I start, it would be only a boring work to be accomplished. But this process is not always smooth when experimenting always includes failures. And also, I am not easily satisfied. It means some of the pieces are eliminating in the process. But I know that if I can enjoy myself with the result, people will appreciate it.

My aesthetic research is about evoking some emotions through poetical forms and the sense of timelessness. I look for some eternal forms in this ever-changing world. To be able to do this, I contemplate about ancient artefacts of unknown craftsmen, some architectural structures which give the feeling of eternity and poetical places like an old Mediterranean town in a beautiful setting. I am trying to interpret the feelings of shapes that inspired me and transform them with clay. For me, the key of creating an authentic aesthetic is combining familiar forms with an individual touch. In my case, this touch should be modest, powerful, consistent and should evoke some emotions in the viewer.