My mother always says that when I was a little girl, I did not play with dolls, but loved drawing all the time. She still keeps my drawings and notebooks to this day.I was born this way and cannot imagine doing anything other than creating or drawing, and now in a certain way, sculpting. I worked for 20 years in art direction, graphic design, editorial graphics and fashion publishing. It was fantastic, but when these tasks stopped offering me increasing challenges, I left in search of something new. In that search, I ended up discovering my own hands in a new way. That’s what being a ceramicist added to my creative profile: using my hands to enter a new third dimension, the dimension of the object. My creative process is very intuitive. In graphic arts I frequently used a notebook to jot down ideas, drafts and create layouts. It was a very rational process, mainly a process of the mind. Now it feels different. Sometimes I take a piece of clay, I knead it and the shape comes up. It is my hands that “think” and I let it be so to see what will arise. When I’m working, ideas need to emerge from my experiences and impressions from them. So, I can say that imperfection is a theme that always inspires me. An example of this is in my “Disforma” series where I sought to break expectations of proportion and exact result by incorporating “failure”, “imperfection” and “crookedness” in the concept. I find it beautiful that something imperfect can stubbornly show itself as it is, imposing its own beauty, one that is out of standards.
Claudia Issa
Designer Sao Paolo / Brazil
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My mother always says that when I was a little girl, I did not play with dolls, but loved drawing all the time.
She still keeps my drawings and notebooks to this day.I was born this way and cannot imagine doing anything other than creating or drawing, and now in a certain way, sculpting.
I worked for 20 years in art direction, graphic design, editorial graphics and fashion publishing. It was fantastic,
but when these tasks stopped offering me increasing challenges, I left in search of something new. In that search, I ended up discovering my own hands in a new way. That’s what being a ceramicist added to my creative profile: using my hands to enter a new third dimension, the dimension of the object.
My creative process is very intuitive. In graphic arts I frequently used a notebook to jot down ideas, drafts
and create layouts. It was a very rational process, mainly a process of the mind. Now it feels different. Sometimes I take a piece of clay, I knead it and the shape comes up. It is my hands that “think” and I let it be so to see what will arise.
When I’m working, ideas need to emerge from my experiences and impressions from them.
So, I can say that imperfection is a theme that always inspires me. An example of this is in my “Disforma” series where I sought to break expectations of proportion and exact result by incorporating “failure”, “imperfection” and “crookedness” in the concept.
I find it beautiful that something imperfect can stubbornly show itself as it is, imposing its own beauty,
one that is out of standards.
She still keeps my drawings and notebooks to this day.I was born this way and cannot imagine doing anything other than creating or drawing, and now in a certain way, sculpting.
I worked for 20 years in art direction, graphic design, editorial graphics and fashion publishing. It was fantastic,
but when these tasks stopped offering me increasing challenges, I left in search of something new. In that search, I ended up discovering my own hands in a new way. That’s what being a ceramicist added to my creative profile: using my hands to enter a new third dimension, the dimension of the object.
My creative process is very intuitive. In graphic arts I frequently used a notebook to jot down ideas, drafts
and create layouts. It was a very rational process, mainly a process of the mind. Now it feels different. Sometimes I take a piece of clay, I knead it and the shape comes up. It is my hands that “think” and I let it be so to see what will arise.
When I’m working, ideas need to emerge from my experiences and impressions from them.
So, I can say that imperfection is a theme that always inspires me. An example of this is in my “Disforma” series where I sought to break expectations of proportion and exact result by incorporating “failure”, “imperfection” and “crookedness” in the concept.
I find it beautiful that something imperfect can stubbornly show itself as it is, imposing its own beauty,
one that is out of standards.
