Creative talk

Lucia Mondadori

Monday 25 November 2024

PHOTO CREDITS: Timothee Chambovet

Lucia Mondadori grew up in a natural and artistic environment that deeply nourished her creative vision. After a rich and eclectic career in graphic design, literature and cinema, she turned to ceramics in Paris, which she views as the perfect balance between art and craft. Through her sculptural vases and totems, she explores organic forms inspired by nature and the human body, seeking to preserve an intimate, tactile bond with the earth. In her Paris workshop, she shapes each piece with meticulous precision, driven by the conviction that craftsmanship is both an act of anchoring the present moment and being in harmony.

Could you tell us about your background and training? What drew you to ceramics? Was there a defining moment that turned ceramics into your profession?

I grew up on a magical island in southern Brazil. My parents had moved there from the big city in the 80s. The island was home to a mix of fishermen, surfers, artists and intellectuals. The great wave-sculpted granites were like sacred totems, sung by local poets, as well as our playground. At 13, I was painting postcards, like small windows opening onto an imaginary world. At 16, I became an artist's apprentice, trading my help for materials and a corner of the studio. That's where I made my first female figures, sculptures of pregnant women in clay.

But art, with all its uncertainties, scared me. So I double-majored in Graphic Design and Literature, studied film in New York, worked in a publishing house and spent several years creating window displays for a major brand.
In 2016, life took me to Paris in search of a new direction and some crockery for my new home. When I couldn't find what I was looking for, I decided to make my own. And so, on an inspired whim, I dived into the world of ceramics, making it both my profession and my passion. The most precious thing for me today is to reconnect with the young girl who once fashioned clay sculptures in the corner of a workshop.

How did you come to collaborate with Sessùn Alma? What does it mean to you both artistically and personally?

My collaboration with Sessùn Alma began in 2021. Every year since then, selected pieces from my collection have been sent to flagship stores such as Barcelona, Charonne and Paris Bachaumont. Our universes have a natural resonance. Sessùn's creative energy inspires me to live a simple, relaxed lifestyle, with an emphasis on beauty and craftsmanship. Each collaboration nourishes me and enables me to forge bonds with a community of people who are passionate about materials, art and sustainable fashion.

Can you say more about the resonance that you feel with the Sessùn universe?

The world of Sessùn, with its aesthetic approach and commitment to authentic values, strikes a particular chord with my own creative vision. I have always been attracted to Sessùn's sense of harmony between simplicity and elegance, attention to detail and the pursuit of quality. There's a deep connection with nature and a genuine appreciation for craftsmanship, which are essential aspects of my own work.

Can you describe your creative process, from the initial concept to the final product?

Organic forms and raw materials are at the heart of my research and work. My process begins by abstracting the curves of the human body and other living forms, such as a root or a sea creature. I draw and model them in chamotte stoneware. I then take the pieces through a series of stages, like drying, sanding, glazing and high-temperature firing.

Each piece is revisited several times over the years. With each version, the curves are refined and studied differently, giving each piece its own unique character. The pieces have names and symbolic meanings, although I enjoy letting myself be moved and carried by what each one inspires. It's a slow, meditative process where I am totally anchored in the present.

Which materials and techniques do you prefer to use in your creations, and why do you like them so much?

I work exclusively with stoneware, also called sandstone, especially chamotte stoneware. It's a very mineral, stone-like clay that invites you to touch it. The pieces seem to call out to be handheld, and I love the raw strength which draws us to them. The transformation of earth by fire is such a vast world in itself that one could devote several lifetimes to it. I prefer natural earth colors to highlight the texture. I am currently working with oxide juices. It's a technique that enables me to color my pieces without losing the original texture of the material. This way, I can preserve the aesthetic and tactile character of each piece.

What are your main sources of inspiration for your work?

Intuition plays a central part in my creative process. Quite often, I spot my sources of inspiration once the pieces have been created. For example, the raw curves and textures came to me on a trip to Brazil, walking on my childhood beaches, along rocks carved by the waves.
Works by masters such as Jean Arp, Barbara Hepworth and Brancusi have had a profound effect on me. I regularly take the time to study and marvel at their forms. Recently, I've become particularly interested in the abstraction of living forms and those sculpted by time.

If you had to choose one piece to symbolize your work, which would it be and why?

Since I started out, two shapes have repeatedly recurred in my work: the Lilith sculptural vase and the Aisha Totem sculpture. Lilith is a study in generous, asymmetrical, off-center curves. It's also a nod to a feminist study that appeared in the 70s, which sets this character as the first feminist, a modern myth. As for the Aisha Totem, it marks my rediscovery of the Arab world when I first arrived in Europe. I'm passionate about history, and especially about cultures.

What is your latest artistic crush?

This summer, I visited LUMA Arles for the first time, and the venue itself was a real coup de coeur. Among the many exhibitions, the one by Brazilian contemporary artist Erika Verzutti really resonated with me. I was fascinated by her infinite totem poles and objects reminiscent of a cabinet of curiosities. Her use of clay and bronze lends a timeless, organic dimension to her creations. I'm delighted to see materials returning to the core of contemporary art.

Can you tell us about any projects you're currently working on or would like to explore in the near future?

I'm about to expand a series of sculptures I started a few years ago. I was told that they evoked symbols from an ancient alphabet, and I really liked this idea. As I am often taken up with commissions, I hope to be able to devote myself fully to this project and succeed in exhibiting a body of work. I've also launched a series of workshops around the sculptural vase, as I enjoy passing on know-how and exchanging ideas between enthusiasts. Working in the studio can sometimes be quite lonely.

DISCOVER LUCIA MONDADORI'S LOOK

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