Morán Fernandez, Orlando

Morán Fernandez, Orlando

He earned a degree in Geography and History from the University of Oviedo in 2001. He began his professional career as a researcher at the Universidad Autónoma de Madrid before transitioning to professional archaeology, where he participated as a technician in various research projects. Simultaneously, he trained in pottery at the last and oldest pottery workshop in Asturias, located in Faro, Oviedo/Uviéu, with the goal of preserving this traditional craft from extinction. Currently a PhD student at the University of Oviedo, his research focuses on the ethnographic and archaeological study of medieval pottery. He is a member of the Social Landscapes (LANDS) research group and the Llaboratoriu Rural del Paisaxe, Hestoria y Patrimoniu (LLABOR) at the University of Oviedo. He currently teaches ceramics at the Factoría Cultural de Avilés, a multidisciplinary arts center.

people

1970s

iain

Spanish

Artisan

398

current,43.355833,-5.794167;

Scotland

Morán Fernandez, Orlando

TEXT

He earned a degree in Geography and History from the University of Oviedo in 2001. He began his professional career as a researcher at the Universidad Autónoma de Madrid before transitioning to professional archaeology, where he participated as a technician in various research projects. Simultaneously, he trained in pottery at the last and oldest pottery workshop in Asturias, located in Faro, Oviedo/Uviéu, with the goal of preserving this traditional craft from extinction. Currently a PhD student at the University of Oviedo, his research focuses on the ethnographic and archaeological study of medieval pottery. He is a member of the Social Landscapes (LANDS) research group and the Llaboratoriu Rural del Paisaxe, Hestoria y Patrimoniu (LLABOR) at the University of Oviedo. He currently teaches ceramics at the Factoría Cultural de Avilés, a multidisciplinary arts center.

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moranarqueologo@gmail.com

ceramics

He began learning at the ceramics school in Avilés and then acquired his knowledge in the workshop of José Manuel Vega "Selito," where he worked as an apprentice for years.

He teaches some of the techniques used in the tradition of Faro ceramics in his classes at the Cultural Factory of Avilés

Carmen Pérez Maestro

male

incomer

he knowledge involved in the preparation and processing of clay, the potter's wheel for creating ceramic pieces, surface treatments and glazes, and the use of the kiln for firing the ceramics.

Orlando was born in Gijón, which is about 30 km from Faro

Clays are extracted from the village of Faro itself, where there are two main types: black clay for unglazed pieces and red clay for glazed ceramics. The fuel used in the past was firewood, but now it is gas.

full-time paid job

Clays are extracted from the village of Faro itself

In pottery, no waste is generated.

The most important technique is the creation of the ceramic piece using a foot-powered potter's wheel.

A metal knife or plate to shape the ceramic piece, a wire for cutting, a punch, small wooden tools, and the "trapadoriu," which is a leather pad used to shape the edges of the ceramic piece. He uses a foot-powered potter's wheel and a gas kiln.

The "trapadoiru" is a tool that gives a unique identity to the ceramic pieces of Faro. This name even appears in traditional Asturian ballads and songs.

Gas

In pottery, no waste is generated. All the leftover raw material is recycled into a new ceramic piece.

For the creation of traditional Faro pottery, Orlando works in the workshop of his teacher, Selito. For pottery classes, he has his own classroom at the Cultural Factory of Avilés.

From black ceramics, he manufactures pieces for domestic use. That is, containers for liquids and food, and for cooking: the barbón (a three-handled pitcher), the penada (a ceramic vessel with a very narrow mouth to allow the drink to pour out slowly), the cider jug (a traditional Asturian drink made from apples), the cheese container (quesera), and the cooking pot (cazuela). In glazed ceramics, he makes cider jugs, plates, deep bowls (escudillas), and water pitchers (botijos).

Orlando has always created ceramic pieces as a personal satisfaction and to preserve the tradition.

Selling them is challenging because many pieces are very large, and transporting them is difficult for tourists. Some of the pieces that are made are sold at fairs or online. In the past, the government had stores called "Arte España," which were even located in airports, and a lot was sold there, but this has since disappeared.

He has a paid job as a ceramics teacher at a municipal vocational school. Apart from that, he does not offer any services related to the profession of ceramics.

No

Orlando does not have regular clients.

The traditional ceramics of Faro do not have any official certification. It also does not have any geographical protection status. The area where it is produced does have a level of heritage protection under the Asturias Heritage Law, including the kilns, Selito's workshop, and the archaeological evidence related to this tradition.

Orlando has no connection with tourist activities.

He is a member of the "Xunta por la defensa de la alfarería de Faro," an association dedicated to defending and promoting Faro pottery, ensuring it maintains its traditional characteristics.

It is difficult to survive economically from traditional ceramics because direct sales are very limited, and artisans have to take on other jobs, which leaves them with little time for online marketing.

Es necesario de una administración pública haga una escuela de oficios tradicionales, es fundamental que haya tanto un archivo donde se recoja la mayor documentación posible…un sitio que recoja todos los conocimientos y enseñanzas y que las trasmita…Puede ser en una zona rural que ademas dinamizara la zona, creara puestos de trabajo para los artesanos que con la docencia y la artesania se podrian sustentar

https://www.nortes.me/2022/06/04/faro-la-alquimia-del-barro/ https://www.youtube.com/watch?v=I_FpkQ5c6jM