Maria Ana Vasco Costa

Ceramicist

©Maria Ana Vasco Costa

From architect to ceramicist

Maria Ana found ceramics at the end of a journey of self-discovery
Her ceramic works impress with their size and three dimensionality
She stretches the limits of traditional tile-making

Maria Ana was on a brilliant career path as an architect in London working with the likes of Sir David Adjaye and Sir Terence Conran, yet something was missing. Returning to Portugal, she thought of studying visual arts, but when she visited the ceramics department of ArCo art school in an old farm with roosters running free, Maria Ana knew instantly she would study there. As she did so, she started to explore making large three-dimensional pieces in a contemporary interpretation of traditional Portuguese tile making. The Surface Design award she won in London in 2016 encouraged her to continue. Today, Maria Ana still goes to ArCo, no longer as a student, but as head of the department.

Interview

©Carolina Pimenta

Tell us about your radical change of profession.: It was a big change from city to rural life. My architectural experience was very rich but I just felt the need to connect more with materials during the production phase and not just see the final product. So, I searched for my path and finally found ceramics.
Do you think you are influenced by your Portuguese origins?: My Portuguese roots are certainly an influence. There is a strong tile heritage in Portugal with monochromatic tiles present in many Portuguese façades. My ceramic installations constantly question this tradition and its relationship with architecture and space.
How does your work go beyond tradition?: As an architect, my surface designs in tile making allow for experimentation and the discovery of new possibilities. I feel free to test the limits of traditional techniques used in local production and continue to search out new forms and invent new glazes.
When do you know a piece is well made?: When there is nothing to point out. It does not necessarily mean it has no mistakes. I actually think it works better when it is not perfect. I accept imperfections to a certain degree if the piece works well as a whole. At the end it needs to be a surprise.

Maria Ana Vasco Costa is an expert artisan: she began her career in 2014