The kitchen for me embodies the idea of naturally refined beauty, spontaneously elegant, decidedly tied to the earth and to ritual gestures. My cuisine is placed in a temporal dimension deeply imbued with enveloping, almost carnal scents. Mumbles and boils, asks for time, care, attention. She does not like improvisation, let alone innovation. We speak of classic traditional dishes, it is a kitchen in which every gesture is a ritual and the flavors a rooted certainty. Maybe gestures are handed down as in the case of my grandmother, to teach me to make gnocchi. They are gestures accompanied by emotions, sealed by aromas that anchor them inextricably to flavor and memory, they are identical gestures repeated over time like the recipes that go to compose step by step. In November I feel the need to find myself in a state of inner recollection, I live the house more and the food comes to cover an important aspect, besides nourishing the physical, in fact, it nourishes my soul. The foods of late autumn are dense and rich in history, often based on poor ingredients, chestnuts, radicchio, and cabbage; the recipes that I prefer are those that require long cooking, thus, legume soups, braised meats and broths mutter in my kitchen filling the house with ancient perfumes. The ceramics and the kitchen have an intimate, tight and natural connection, like those people who have been married since time immemorial and end up looking alike. The ceramics I create for the table were first tested by me and my family, so I was able to evaluate their shape over time in relation to the function. Beauty in relation to comfort. In my kitchen made of ancient recipes handed down from generation to generation, always identical, ceramics takes a step backwards, gives up part of its superb beauty to meet a simple gesture, to welcome carefully prepared food and nourish with love. In this subtle balance, made mostly of conscious glances and silences, soup bowls collect the aromas and keep the heat in the narrower walls, the salad bowls and the soup plate open up to the light, the plates instead find the border between dish and table in slightly irregular edges, with an open angle on infinite possibilities. Poetry and functionality met with grace, responding to two equally important issues, beauty and purpose. Only in this way can poetry enter into everyday life, without compromise, but with an agreement, in which both parties are satisfied. What could be beauty without purpose is born new life every morning. What could become a routine emptied of meaning becomes a celebration of a new awareness, what could become a function without beauty becomes a hymn to aesthetics. A strong aesthetic that holds up to the shocks of life, shaped by the heat of the kiln and by my hands that pass from the wedging clay to the dough of the gnocchi with the same tactile awareness. This weave of ceramic and non-ceramic mixtures is intertwined in my typical day, in which there is not really much of typical. My diary as well as my Atelier are characterized by a more or less organized chaos with which after so many years I found a balance that works for me. I have no recipes for this, I don’t program and mostly I let things happen.
Here then is that my ceramics come out of the Atelier to appear on the November issue of Sale & Pepe magazine that has made a complete restyling and marries beautifully with the Wabi Sabi style of my creations. Find my poetic and functional Wabi Sabi ceramics in the service: “Contemporary pasta” in perfect harmony with chestnuts, pumpkin, buckwheat, chickpeas and legumes: poetry of everyday life on perfectly imperfect tables, full of warmth and real food.
I am pleased to see my ceramics juxtaposed with simple seasonal ingredients, tied to the earth, time and rituality that are an important part of the Wabi Sabi Philosophical Aesthetic concept and how I mean the kitchen.
If you wish to have these unique pieces on your table, find them in the online store.