Porcelain Study is part of the project The Poetics of the Ordinary, where I investigate historical decorative patterns and everyday household objects from the 17th to the 20th century. This project proposes a dialogue between two worlds, where historical elements merge with contemporary materials and techniques. In doing so, I blend the ancient with the present, the real with the representation, and mass production with the unique and unrepeatable, aiming to construct new narratives about the domestic space that connect with the historical heritage that defines them.

The entire body of work in this series is inspired by the history of porcelain, specifically its arrival in Europe. In the 17th century, porcelain was highly coveted by European royalty and aristocracy; it was considered the “white gold” of the era and could only be imported from China. At that time, European kingdoms did not know the secret of its manufacture, and many attempted to replicate it without success. It wasn't until the early 18th century in Meissen that the secret was finally discovered. Since it was such a valuable production, the King of Saxony established the porcelain manufactory in Albrechtsburg Castle. Shortly after, other kingdoms also managed to acquire the secret, but Meissen porcelain remains one of the most prestigious to this day.

The works presented here consist of a meticulous and exquisite compilation of porcelain pieces that represent the tastes of the time and the transformation of those tastes through the centuries. In Teapot study_Chinese series, a chronological vision of Chinese and Japanese porcelain teapots from the 15th to the 20th century is displayed. In Teapot study_European series, European porcelain teapots appear—also arranged chronologically—from Meissen to other major French, British, and Spanish factories, among others. Other works showcase exotic porcelain sculptures created for royal commissions.

This series seeks to rescue delightful ornamental and functional pieces that belong to the realm of domestic space and private life, while simultaneously presenting the viewer with a period fantasy filled with poetry and wonder. These are pieces steeped in history that speak of the birth of new customs, tastes, interests, and references. Above all, they are pieces that, when brought into the present, we can only experience and imagine within dreamlike spaces we will never truly know.