Artisan An artisan External ID LAPONTE_PR_07 Place The town or city San Salvador, Quirós, Principado de Asturias, Spain Area Relation incomer Area Reason After the pandemic, they decided to leave their jobs and move from Madrid Occupation ceramics Involvment full-time paid job Biographical Text 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. Email The email address of the museum. 34 618 92 20 67 Social Media The social media links. facebook,https://www.facebook.com/tierrayfuegotallerdeceramica;instagram,https://www.instagram.com/ceramica_tierrayfuego/; knowledge1 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. Knowledge Acquisition Self-taught and thanks to his father. Knowledge Transfer 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. material1 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. material2 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. material3 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. production1 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. production2 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. production3 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. production4 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. production5 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. workshop 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. products1 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. products2 For sale products3 Their items are sold primarily at craft markets, both in Asturias and in other regions. products4 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. products5 No, they do not provide repair or reutilisation services. products6 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. products7 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”. tourism1 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. tourism2 "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." partnership 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. challenges1 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. challenges2 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." Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Martínez de Juana, Andrián; Cervera Gustodio, Patricia Type The nature or genre of the resource Artisan Contributor An entity responsible for making contributions to the resource Maria José Tudela Date A point or period of time associated with an event in the lifecycle of the resource 1981 Language A language of the resource Spanish Spatial Coverage Spatial characteristics of the resource. current,43.1642031567794,-5.97880474556343; Identifier An unambiguous reference to the resource within a given context 936 Europeana Specific elements of the Europeana Semantic Elements. Object The URL of a suitable source image in the best resolution available on the web site of the data provider from which small images could be generated for use in the portal. This will often be the same URL as given in europeana:isShownBy. https://tallerdeceramicaenasturias.wordpress.com/ Country The name of the country of the data provider or “Europe” in the case of Europe-wide projects. Spain