Martínez de Juana, Andrián; Cervera Gustodio, Patricia

Martínez de Juana, Andrián; Cervera Gustodio, Patricia

1981

Maria José Tudela

Spanish

Artisan

936

current,43.1642031567794,-5.97880474556343;

Spain

https://tallerdeceramicaenasturias.wordpress.com/

Patricia and Adrián are a couple of artisans living in a small village in the municipality of Quirós. A few years ago, they decided to leave Madrid to start their own project: a ceramics studio that combines traditional techniques with a contemporary approach.

LAPONTE_PR_07

facebook,https://www.facebook.com/tierrayfuegotallerdeceramica;instagram,https://www.instagram.com/ceramica_tierrayfuego/;

ceramics

Self-taught and thanks to his father.

Yes, they teach their skills to individuals who participate in their workshops. These training activities are conducted in their own workspace and are adapted to the characteristics and needs of the participants, whether they are adults, young people, or specific groups. Their teaching approach is based on practical demonstration and personalised guidance throughout the creative process.

incomer

To create their pieces, they use a rolling pin to produce clay slabs, along with a wide range of modelling and texturing tools. These include specialised instruments, such as awls, as well as non-specialised items such as toothbrushes, utility knives, and various types of brushes, many of which are everyday household tools.

After the pandemic, they decided to leave their jobs and move from Madrid

Their work involves the use of refractory ceramic clay, porcelain, and recycled glass obtained from used bottles. Each material is selected based on the type of piece and the aesthetic effects they aim to achieve.

full-time paid job

The artisans primarily use clays of Spanish origin, sourced from the regions of Tarragona and Alicante. They are also considering incorporating black clay from Asturias, although they must first conduct tests to determine its suitability for the firing temperatures required.

Waste generated in their working process is virtually zero. All clay scraps are fully recovered and reused, reintegrating them into the production cycle. When working with glass or other materials, any remaining fragments are reused whenever possible or managed through formal recycling systems.

They employ highly personal techniques developed through experimentation, self-invented methods, and adaptations of techniques used by other artisans. Their practice is grounded in an ongoing process of testing and refinement.

They primarily use tools inherited from one of the artisan’s father, complemented by the extensive use of their own hands, which play an essential role in the creation process.

They maintain both a practical and an emotional relationship with many of their tools, as many are inherited family items. Beyond their functional value, these tools carry emotional significance, connecting their work with memory and tradition.

They do not yet have an operational kiln. They acquired a second-hand electric kiln from the 1990s, but they still need to obtain certain components and additional tools in order to bring it into operation.

No waste is generated during the production process. If a finished piece is not suitable for sale, the artisans keep it for their own personal use, thereby preventing any form of disposal.

No, the practitioners do not have a separate space used exclusively for their own work. They use the same workshop for both their production and workshops with third parties. The workshop is located on the ground floor of their home, but it functions as an independent space with its own access and organisation, allowing activities to be carried out without interfering with the domestic area.

The practitioners create pieces that reproduce façades of houses and other constructions, both real and imagined. They also produce porcelain and ceramic pendants, as well as items such as incense holders and ashtrays made from a combination of ceramic and recycled glass.

For sale

Their items are sold primarily at craft markets, both in Asturias and in other regions.

They offer workshops for a wide range of audiences, delivered both in their own workspace and in schools and other institutions. They also manage and organise markets featuring a variety of local artisans.

No, they do not provide repair or reutilisation services.

Their customer base is highly diverse, including private individuals and tourists who attend markets, as well as local companies requesting bespoke pieces. They also collaborate with institutions, such as museums, which commission works on specific themes. Special commissions generally come from local organisations, enabling them to support and strengthen a circular local economy.

They do not currently hold any specific certifications. However, they are members of a local association that is exploring the possibility of establishing an artisanal designation of origin associated with the “Valles del Trubia”.

Yes, the practitioners receive a wide range of visitors and clients, including both local residents and tourists who spend weekends in the area. One of their main tourism-related activities is the offer of ceramics workshops, which can be booked throughout the year. They do not specify whether their tourists are domestic or international, as their approach does not differentiate by origin.

"Más allá de participar en mercados grandes, creo que es una parte de la democracia participar en la vida de los concejos." "No solo turistas, sino gente de la zona, eso es lo que está bien."

Yes, they are members of the neighbourhood association “L’Abellugu” and of the craft association “Arte por las Manos”, which has more than one hundred members. They also take part in various co-creation projects with local artisans, fostering knowledge exchange and mutual collaboration. They collaborate with various public institutions, such as local schools and museums, for which they create specific pieces or souvenir products. They do not currently engage in formal collaborations with academic research institutions.

One of the main challenges they face is unfair competition from individuals who sell products that are not genuinely handmade. This issue undermines both the recognition of the craft and the economic sustainability of those who work authentically.

No compréis por internet, ese es el mayor problema." "Cuando hablamos de comprar artesanía yo lo entiendo como comprar algo que está hecho con el alma y con las manos." "El niño seguía llorando porque quería específicamente el colgante que había visto, quería ese; son piezas únicas."

San Salvador, Quirós, Principado de Asturias, Spain