Alberto Bustos has been expressing himself with clay for over 25 years. His ceramic creations are famous for their abstract lines and coloring compounded with a conceptualized sense of space. He makes the porcelain slender and versatile and then combines them into three-dimensional forms. He teaches advanced ceramics workshops around the world. Alberto is a member of the International Academy of Ceramics and an Honorable Master in China.
Q: Please share with us your experiences that led you to the path of ceramics.
A: From a very young age I had artistic concerns. I remember that I did not play with the toys that my parents gave me. I preferred to make my toys myself.
In the art world I started painting. Soon two dimensions were not enough to show my feelings. I needed volume. I thought that the easiest thing would be to work with clay. Open a package, take out a piece, and start modeling. After more than 25 years working with clay, I keep learning since its techniques and variations are endless.
Clay is the most complicated modeling material I have ever worked with. The whole process is very laborious and fragile. In the end, it is the kiln that decides the final result. In that step, we can do nothing. It's magic!
Q: What steps are involved in creating your ceramic sculptures? When do you consider a piece finished?
A: First there is the idea that is generated in my mind. Then I usually develop it on paper, the sketch, but not always. On many occasions the idea jumps directly from my mind to the clay package. Modeling is faster than people think, since the elements I work with are very fine and dry quickly. This forces me to work very delicately but fast. I usually dry the sculpture in the kiln. It is easier to put it in when it is still a little wet because it is more elastic. If the sculpture is completely dry, it is very dangerous to put it in the kiln because any vibration can break it.
I think a piece is never finished. After leaving the kiln she continues with her life. Just like human beings. Sometimes a sculpture suffers damage. But it is not the end of the sculpture. This fact is part of your life. Let′s imagine that a family member has to have a leg amputated, or he suffers from an illness, should we stop loving him?
