Ceramics for the senses

Fernando believes in 'experiencing' pieces
He was awarded the Craftsman Merit Medal of Castilla-La Mancha
Chinese ceramics have had a significant influence on his work

Fernando Alcalde's professional journey began in the early 1980s when he stumbled upon pottery. "I was studying Geography and History, and instead of explaining how ancient pieces were made on the blackboard, our teacher took us to visit an artisan who demonstrated the process live," says Fernando. His eagerness to learn led him to study at the University of Ceramics in Manises, Valencia. "Even when studying at an educational institution, self-education is essential. In my case, I conducted research on glazes and colours to develop my own style in creating pieces." His ceramic works are made to appeal to several of the senses, with their vibrant colours and surprising textures.

Fernando Alcalde is a master artisan: he began his career in 1982 and he started teaching in 1990

Discover his work

Discover his work

Cylinders and Lotus Bowl

Pumpkins

Earthen tones

Serving dishes

Impressed bowls

INTERVIEW

At 19 years old, while I was at university, a potter and a turner opened my eyes to pottery. In Spain of the 1980s, there was no internet, so we had no choice but to rely on books to gain knowledge. I decided to study at the school of ceramics, but the library also played a significant role in my education. Self-education is highly important.

I observe the changing seasons in my surroundings, which dictate the colours that I use in my work. I see how nature shifts slightly. If I lived in northern Spain, my colour palette would be different from living in the south, for instance. In that sense, my environment can have an influence.

What I enjoy the most is the challenge, achieving the things I ambition, and mastering the techniques. Bringing the ideas in my mind to life and expressing them is also a source of great satisfaction. I am highly interested in how, for example, a coffee pot can serve as a vase. Sometimes, the utility that customers assign to objects differs from the original intention.

The pieces must have a soul. They should convey something. To be truly accomplished, objects must create a kind of spell in the viewer: a charm that draws them closer to the piece.