Theoretical and attitudinal changes towards ceramic discourse and practice , brought about changes on how I view my materials. Thus, clay,glaze,air,water, and fire,from materials which co-existed in the production of a ceramic object, became separate entities, each one with its own character, qualities and language. Co-existence was of no importance. This 'new' Ceramics language code, released other aesthetic events,gestural acts,and conceptual and experimentational realizations or proposals.
Gestural imprints of clay,metal oxides,water and fire on paper and wood, which I consider a paradigm for/of ceramic paintings
2.VARIOUS OBJECTS /SCULPTURES, INSTALLATIONS ,PERFORMANCES , PUBLIC INTERVENTIONS which dwell between the ephemeral and the mundane .