Martha Pachón Rodríguez was born in Santa Fe de Bogotá in Colombia. She graduated in Fine Arts at the Universidad Surcolombiana in Neiva and later moved to Italy, continuing her training at the Ballardini Ceramic Art Institute in Faenza, and specialising in stoneware and porcelain. Today the artist and craftswoman is internationally renowned, and carries on a work that combines fine Italian craftsmanship, contemporary design and the Andean and Afro-Caribbean influences of her origins.
In her atelier in Faenza, she creates both porcelain sculptures and light and conceptual installations. Over the years, he has developed a personal research on translucence and colour, using the ancient techniques of porcelain working, and revisiting them in a contemporary key.
Her work is focused on the themes of magic and sacredness, eroticism and human and animal migrations, producing extremely refined works that require great patience and skill.
She co-founded and was the director of the Faenza Art Ceramic Centre, a hub for ceramic training. She is a member of the IAC - International Academy of Ceramics.

How did your journey into ceramics begin?

It's a funny story. Even as a child, my parents knew that at Christmas, instead of toys, I preferred plasticine, paints, crayons, tempera and acrylics.
I went to a school run French nuns, I was very talkative and I used to distract my classmates during lessons.
One day, as a punishment, the nuns sent me to work as an assistant in a hidden workshop, where a rather crazy nun worked. 
They thought it was a great punishment, because everyone was afraind of this nun. For me it was a discovery instead: here I saw how objects were modelled from clay, and I watched as by magic she, who seemed more a sorceress than a nun to me, put them in an oven, and from there they came out transformed, coloured and resistant. 
It was an enlightening event for my creative journey.
Later, during high school, I continued working with ceramics by attending a few workshops. Then I went to university and graduated in Fine Arts, with a thesis based on ceramic materials, financed by a bank: my pieces made for this occasion were exhibited in a gallery. Then I specialised in stoneware and porcelain in Faenza, and made several trips to Asia, which brought me closer and closer to the world of porcelain.

How much do your Andean and Afro-Caribbean roots influence your work?

Molto. Sono cresciuta in un mondo fantastico, reinventato nella quotidianità attraverso le fiabe raccontate da un padre caraibico e una madre andina, influenzata dalla ferrea religione cattolica e dalle superstizioni sciamaniche. Questo Realismo Magico lo porto nel sangue, ma è grazie all'incontro con il Mediterraneo che le mie radici emergono, si arricchiscono e si combinano alla cultura europea. 


What is the main difference between making ceramics in Italy and in Colombia, where you grew up?

Making ceramics in Colombia means forming a bond with tradition and with clay, whereas in Italy one works without defined boundaries, combining craftsmanship with contemporary design: perhaps here I have been able to achieve complete freedom of creative expression.

Where does the inspiration for your work come from?

It comes from true stories and magical tales. From ethnographic research inspired by the two worlds between two seas: Europe and Latin America. 

Your sculptures are strongly evocative. What do you want to communicate with your work?

When you do what you enjoy and you do it with passion, you can easily communicate messages that would be difficult to convey and understand with words. 
I would like to represent magic and beauty. 
I am convinced that my shapes, the colours I use and their translucence, allow the viewer to discover hidden stories and see the magic and the beauty, which are actually already within us; I hope the viewer feels calm, carefree and able to cope with the reality of everyday life.
Our human existence is made up of hustle, negative news, fears. This is what Magic Realism aims at, which is central to my work: investing real things with magic, because each of us has the divine power to imagine reality better than it is, and to manifest it.

What are the stages in the creation of a work? What is your favourite technique? 

The steps are many and long, they require patience and love for a difficult and at the same time beautiful material like porcelain. I prefer to work by hand modelling, and I prefer coloured porcelain.
I start with a story that evokes colours, shapes, even smells and sounds. Then it comes the design phase, for which I use coloured pencils, watercolours on folded and modelled paper.
Then I make the moulds for each piece by hand. This process can take up to months. Then I make the stoneware supports, which will be used to fire the works at high temperatures. This is only the design phase. 
Next it follows the preparation of the colour mixtures and Nerikomi designs, or inlay matches. This material preparation phase takes another two weeks of work.
Finally I proceed to the actual creation of the piece, which is done by modelling porcelain slabs, sometimes using moulds, sometimes not. At this stage, all the small parts that make up the piece, such as leaves, needles or fragments, are made. This process takes from four days to a week.
Once the shaping is finished and all the parts are assembled, we proceed with the drying process, which takes a fortnight to a month. 
The piece is fired to bisque at low temperature, then is finished and fired a second time. Afterwards, final finishing and polishing is completed. 
Sometimes another stage is necessary, involving the application of gold or metals and following a third firing.

In September 2024, you were awarded the “MAM - Maestro d'Arte e Mestiere” (Master of Arts and Crafts), a biennial accolade given by Fondazione Cologni dei Mestieri d’Arte to master artisans who stand out for their talent, know-how and high competence. What was it like to receive it?

For me, it meant many things at the same time: first of all, the honour of feeling worthy of such an important professional recognition. Especially because Fondazione Cologni is nationally recognised entity that has the authority to grant such an important acknowledgement.
It also represents the awareness of the necessity and the responsibility of carrying on a wonderful and unique craft, and of having to keep the quality of my work high, indeed to improve it even further, to continue to deserve to be part of this group of masters.
Moreover, and more importantly, during the ceremony I met many valuable and unique people, made new friends and shared stories with them.
In the end it is like being part of a big family, guided and supported by another family, the Cologni Foundation.

 

What are your future plans?

The first project I want to realise is a new series of pieces that combine sculpture, decoration and contemporary installation. I am also planning some new exhibitions and other initiatives in partnership with other master artisans. 

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