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Photo credit : Thomas Roger
From her early days studying at the The Beaux-Arts de Paris to her discovery of ceramics, Clara Valdes has always explored materials and gesture with sensitivity and poetic nuance. Fascinated by clay and our relationship with rock, she uses the table to play with ideas of utility, sharing and aesthetics all at once. A self-taught ceramicist, she creates plates and carafes by hand, prioritising spontaneity, texture and organic shapes. Her work resonates at Sessùn Alma, where it has inspired the creation of a radiant and timeless universe that offers a place of confidence and expression. Here's what she said when we met with the designer, for whom every object tells a story and every gesture complements a material.
Can you tell us about your background and the key moments that led you to do what you do now?
It was while attending evening classes at The Beaux-Arts de Paris that I decided I would see if I could get into art school. I arrived at the Haute École des Arts du Rhin hoping to specialise in design. During my first years, I chose a module called Design Process, where it wasn’t the final creation that mattered, but rather the process. I experimented with many different materials and elements, and I realised that I wanted to explore our relationship with rock and use the raw material as a medium. At the same time, I began writing my dissertation. Very quickly, mealtimes became my artistic playground. I love what a table represents: nourishment, togetherness, landscape, sharing, aesthetics and utility. The table is a place where decisions are made.
It was therefore quite natural for me to turn to ceramics. Clay is the material that holds food and is perfect for tableware, thanks to its physical and thermal properties and its suitability for contact with food, etc. So I trained myself, trying to understand this material and the processes for using it. As I practised, I gradually became fixed on tableware, with a particular fondness for plates and carafes.
How did your partnership with Sessùn come about, and what does this relationship mean to you, both artistically and personally?
Our collaboration with Sessùn Alma began at a decisive moment in my workshop journey. In January 2025, we began initial discussions with Marie Veidig (one of the brand's curators). Having completed my master's degree three years earlier, I was at a turning point in my career, juggling odd jobs and projects at the workshop. I was beginning to lay the foundations for my work as a designer. This collaboration with a brand that I have always admired was a recognition of confidence in my work. For many years now, for me, Sessùn has represented inspirational artisans and a universe of timeless, lasting radiance. It is therefore a true pleasure to be part of it myself.
What are your main sources of inspiration, not only in terms of art and artisans, but also in your daily life and surroundings?
The table! I really find that our relationship with mealtimes is so rich. It allows me to explore
working with clay, to understand landscapes, climates, and seasons through moments that
enrich my creations. I enjoy coming together for shared moments and the exchanges that follow. I also like to engage our senses by questioning our relationship with touch, sight, texture and colour. With this approach, I can discover different métiers, from working with ceramics to glass and metal to textiles. The world of tableware also allows me to take an interest in the evolution of objects and in our ever-present relationship with food, as well as learning about the evolution of our traditions and habits. The table allows me to develop my tastes and values every day by letting me choose what I consume.
What is your earliest creative memory?
My first creative memory takes me back to my childhood. I have always enjoyed building things, doing DIY, creating scents with flowers or cakes using mud. But I think my first creations were musical. I’ve played classical guitar since I was a child. It’s an instrument I love and which allowed me to express my emotions, develop a certain rigour for learning and inspire others to dream or travel.
Is there an object that you always have with you in the workshop and which has a special story behind it?
In my workshop there’s a ceramic key ring hanging, made by my friend Jane. Those keys follow me from workshop to workshop. Like a charm, I feel that they protect me.
Your work combines clay, jesmonite and mineral experiments. How do you choose your materials at the start of a new project?
I like to design my objects with a spontaneous gesture. I’ve often tried to reproduce natural cycles by imitating their processes. Initially, I looked for rocks that I could mould in clay to cast in jesmonite and rock powder. But I quickly realised that reproducing existing artefacts was not the right approach. So I tried to understand what kinds of minerals I liked. I came to the conclusion that I like raw materials, simple gestures and rough edges. I choose my materials for their plasticity; I think I prefer to work as much as possible with my hands and as little as possible with tools or machines. Currently, I work with clay because it is both a raw and natural material that allows me to design objects to be used with food, which I shape by hand. But I also want to experiment with scale and material, so I’m looking for other elements that can express my ideas.
Which of your creations or objects are you most proud of today?
I love making Nuage plates. Starting with a ball of clay, they take shape in the palm of my hand, and the curves appear as I work the material. I don’t use any tools or templates. They’re made using information gathered from several studies on plates. Despite the repetition of the production, they never grow old on me – they’re gentle and pleasing on the eye. It gives me great pride to be able to reproduce an object that I never tire of over the years, and which allows me to develop my technique.
Do you have any upcoming projects you would like to share with us?
I'm currently working on new plate collections for Sessùn, including a project involving large centrepieces and dishes. These objects take shape in larger volumes, thanks to the larger kiln that I have just acquired for my workshop, allowing me to design new shapes, which is very exciting. I will also be present at Collectible Brussels for the new edition of Tablescapes. I'm still working for Manon Fleury's Datil restaurant, and we are designing a new collection with the Tabouret gallery in Menorca.
