Article in Ceramics Time magazine

Art in Industry
I have been a ceramist for over 30 years, result from a comment in college corridors, “You talk a lot with your hands”.
My work is very assorted and multifaceted, there are various aspects.
In my studio I am more introspective; there it is impregnated of provocative mysteries.
I love to create situations where the result instigates the onlooker’s imagination. Often, he, the onlooker, is not content with only looking. He touches surreptitiously; sometimes he even smells the piece eagerness of discovering what it is.
In one of the aspects of my work, I make spheres where the inside and outside reveal themselves, creating my own universe of planets.
In the evolution of my creative process, provocation being amplified was imperative.
I wished that the Onlooker would, literally, lunge into the spheres; have a greater sensorial opportunity. They had to grow. The call was vehement.
To continue with my dream, I went searching for a larger kiln to make the spheres grow.
In spite of being from São Paulo, personal and emotional reasons led me to the State of Minas Gerais. I knocked at Cerâmica Parapuan’s doors, located in Pará de Minas.
I immediately was taken aback by that view of the clevises and at once changed my project. I interrupted the idea of enormous spheres so I myself could “lunge” into clevises.
The circularity, the inside and outside, the darkness…were concepts that approach them to spheres, in that stunning vision.
Thus eluded, I started a new enterprise.
During my creative process, I always establish several dialogues with the matter, with what is visible and invisible
However, there, at the plant, in the anxiety of producing, I did not even pay attention to some facts. Clevises remit to their own symbolism and translate subjective combinations of feelings and thoughts of another instance, at the same time that they can be associated to shapes existing in nature and if seen as columns, they already have been widely used during man’s history.
Their verticality is overpowering, their symmetry is absolute!
Additionally, I did not consider some technical issues, such as firing cycle and type, clay quality, and how they are manufactured.
Clevises are “born” to be treated as clevises. I wished to give them the same treatment that I gave my spheres, I wished to follow the same paths.
Due to such, I took a few paces back, and opened myself up, again, to the unknown.
The attraction the clevises provoked in me was stronger and stronger. I asked myself the question: Then, what to do?
In front of the conflict was born from an inspiration. The tip was light.
I started building sculptural lamps, totems.
And thus another aspect of my work appeared, more recent. Design in ceramics, directed to architecture and also decoration.
Little by little, the employees of Cerâmica Parapuan became interesting and getting closer, very curious about my work.
And at that same time, when I walk through the plant, I would see here and there some works by the employees. They were animals made in moulds or molded, some everyday items such as dishes for animals, small houses made from ceramic bricks, small oratory niches and piggy banks for coins. All very timidly made.
The crucial moment was the news of the 3rd Show and National Congress of Ceramics of Curitiba. When the company’s owners and employees were asked on its participation in the Show, there was no hesitation. The Parapuan Group was formed.
Since then, the employees’ works have already been sent to some shows: 3rd Show of Curitiba, Naif Biennial de Piracicaba – SP, Bunkyo Art Great Exhibition at the Brazilian Society of Japanese Culture in São Paulo.
All the process was a surprise. I did not imagine that its unfolding would reach something beyond my work and life of the plant’s employees: Parapuan Project– Art in Industry. A project of social inclusion.
I heard spontaneous statements from Parapuan employees when they saw the result of the creative process in which they engaged themselves, because of the project:
- “Gosh, what a lot! So many years here and I never thought that this was possible!”
- “If it were not for you, all this would have stayed crammed in here.
It was then that I read Yoko Ono’s phrase and that Raul Seixas also sang: “A dream you dream alone is only a dream. A dream you dream together is REALITY.”
“ It fitted like a glove”.
Time has passed and currently pupils and instructors from the School of Arts of the Secretariat of Culture of Pará de Minas, also joined the Parapuan Group. They are welcomed by the employees, who apart from guiding them; they jointly perform creative works that surprise the onlooker.
It was like this that the Parapuan Project Art in Industry, and now that it has gone beyond the Company’s walls and city limits, the project has expanded its frontiers.
Parapuan Project, Arte in Industry: Going Beyond Work.
Recently we were invited to participate of the 23rd Fair of Ceramics of Belo Horizonte, carried out on the 29th and 30th April and 1st May.
Everybody’s works, pupils, employees and mine, were a success.
The Project gained conspicuousness and everyone is more motivated to create and develop design objects and beautiful sculptures from clevises and bricks.
What fascinates me the most is how the effervescent look of a stimulated imaginary is capable of transforming an object projected to stay laying, buried, in the darkness, humid, forgotten, and reveals its nobility and dignity, before, invisible; and everything because of a dream: searching for a larger kiln, clevises appeared and lit up.
As Manoel de Barros says:
“…that the importance of something is not measured by a measuring tape, or with scales or barometers, etc…
That the importance of something must be measured by the enchantment that it produces in us”
Exploitive ground grammar: nearly all poetry.
That involvement of “Art in Industry” is producing a very interesting batch of products, which can carry water, put up with the elements, light, such as the prototypes that I have already developed.
I and others that take part of the Parapuan Project have decided to develop creation projects of other artists, designers and professionals from the creative area; supported by clevises and bricks produced by Cerâmica Parapuan.
Expecting that soon we will be able to exchange some ideas, I wish to end com my Teacher Megumi Yuasa’s words “the artist is an agent of faith, as he/she materializes what he/she does not see, because he/she believes it is there”.

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