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- DIALOGS
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DIALOG WITH VERÓNICA MOAR
After dedicating years to English philology and sign language interpretation, Verónica Moar walked away and hasn’t looked back since. Now, from her cozy ceramics studio in the A Coruña neighborhood of Santa Margarita, she channels her unique creativity and love for the Atlantic, bringing expressive ceramics to life. Join us for this interview and discover the work of a potter whose creations go beyond functionality.
You became a potter as a result of a major life change. Can you tell us more about what made you choose clay?
The truth is that it was pretty serendipitous. I had a stable office job related to my field of study, English philology and sign language interpretation. But there came a time when I couldn’t imagine doing that in the future, so in 2008 I decided to leave. I’d always been restless and very curious. I decided to visit the art and trade school just to ask for information about their artistic ceramics workshop, but I ended up walking out enrolled! I remember that the first week of class, I was completely hooked.
What stage in the process of creating a piece do you enjoy most?
Without a doubt, the most exciting part for me is the beginning, when the idea is like a seed germinating in my head. I start researching, looking for information and references, deciding what material to use... it’s like an enigma that I have to solve. After plenty of trial and error, I’m finally able to create something that until then existed only in my imagination. Also, when my work leaves the workshop and ends up in someone else’s hands, I feel like the circle is closed. It gives meaning to the entire process and all the effort.
Does your education in philology influence your creative process?
I’m becoming more and more convinced that it does. Deep down, I like telling stories. That has a lot to do with my passion for literature, which was always my favorite subject during my studies. But the process is also influenced quite a bit by contemporary dance, which I love. I think movement and the body are very much related to the act of shaping clay. In my latest work, I try to show the connection between words, dance, and ceramics.
Your ceramics have a strong influence of Japanese craftsmanship and philosophy. After spending a season in Japan, you returned to A Coruña. Do you think that the north, especially Galicia, influences the shapes and colors of your pieces?
Yes, I went to Japan where I learned the value that a piece of pottery can have. Over there, pottery is quite serious and respected, whether it’s a functional piece for daily use or an artistic piece. Today, my work is strongly influenced by where I live: the Galician landscape, the Atlantic, the rocks with their shapes and tones... many times they're my references and my starting point.
Your latest work (Lítica, for example) is very connected to your roots, the sea, movement... do you find that you increasingly feel the need to create pieces that speak beyond their function?
Yes. As I mentioned, I studied artistic ceramics. In school, they taught me all the techniques for creating a piece of pottery: coils, slabs, the wheel, slip casting, etc. They gave me that solid skill base so that I could then be the one to decide what I wanted to make. I suppose that my earlier education as a philologist and my fascination with dance have given me this growing desire to create and share my very personal way of understanding contemporary ceramics with others.
Know more about Veronica Moar work here.