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Ceramics

  • The sophisticated shape of the jellyfish, skillfully made with technical expertise and expressive force by the artist, is one of the most representative objects of this workshop.

  • This prized wall light in glazed ceramic evokes the colours and light of the seabed, where the coral branch, the starfish and the shell appear to fluctuate in iridescent opaline and metallic reflections.

  • The "Sa Mustra" collection, inspired by decorative motifs of ancient Sardinian chests, available with different lapwing decorations, makes clear reference to the four natural elements: water, earth, fire and air.

  • Sphisticated series of bucchero clay pieces, a symbolic reference to river pebbles, with their neat and smooth shape. Made following the foil technique, by juxtaposing material textures and marks, it provides a balanced innovative perspective.

  • Zucca e Tazucca, meaning jug and cup, is an explicit tribute to the agricultural and pastoral Sardinia, used to exploit the elements of Nature as containers for different purposes.

Il settore

Local pottery production started during the Neolithic age, featuring peculiar characteristics that evolved during the Nuragic age. Neolithic pottery productions explored the female body, rounded also in pottery production, being a representation of the Mother goddess. Nuragic pottery featured simple and stylized designs, a tribute to the strength of war.

 

In the following ages, the regular exchange of imported pottery, linked to the interaction of different cultures with Sardinia, made it difficult to define what local production really was, since production became a self-sufficient expression of modern age, only when stylistic features and technical procedures were define and kept unchanged until recent times.

 

For instance, terracotta was slipped and glazed. Few and functional models were lathe-crafted: pitchers, marigas, containers, sciveddas, pans, pingiadas, flasks, frascus, bowls, discus, and other types of pots and pouring receptacles.

 

The setting is rural and pastoral. They are objects of daily use, for the transportation and and storage of water, baking, the preparation of desserts and food products. Yet, embellishments and expressive characterizations are also used. The festive versions are used during solemn occasions, anniversaries, rituals, and are part of the set of votive tools. They are made by the most skilled figuli, using graphite and decorated with plastic additions, plant motifs and the figures of saints and other religious and good-luck symbols.

 

 

These productions that belong to the local material culture, together with the productions of other sectors such as hand-made weaving, jewelry, carving and basket weaving, share a secret language, and intimate and evocative jargon.