Maria Angeles Domingo Madola
I have drawn my inspiration from living life intensely in Catalonia, in Barcelona, in the Maresme, from the blue of the sea, from the brown of the carob pod, from the ochre colour of the earth. I have also drawn it from my neighbourhood, Sarria, from its silent streets, where you might meet a priest reading from his prayer book while he walks along the pavement, from the old city of Barcelona, with its black and grey stones, covered with engravings, from the workshops I remember as a child, from the Romanesque museum and from Gaudí, Mirò and Tapies. I draw it from our culture, open to the Mediterranean, from the trips I have made to the Far East to experience contrast, to Arab countries and Africa to find mystery, to the ancient continent of Europe to find geographical exuberance and to America to discover architectural exuberance.
Everything that I have ever felt deeply has become for me a symbol, a root, a state of mind which is ideal for the work that I do.
Sometimes I work like a musician, in the form of variations. I produce a sequence of works which are different from each other only as a single form that has been displaced, piled up or crushed back on top of itself.
Everything that is human interests me, everything that is full of passion, of love and of hate. Working as a ceramicist is a way of reflecting on life, and it is as I work that my thoughts about life take shape.
It is in this struggle between what I desire and the reality of the material that there arises an equilibrium of tensions, and these tensions result in a task in which my role is to carve (the material) to smooth it out, to forge connections, to pile it up, to transform it. It is a process in which I take an interest in the passing of time, in which a change of colour here or there, or an almost imperceptible movement awakens feelings and emotions in me, anarchic feelings, that sheer vital but visceral impulse that is born of blind faith in instinct.