Clay, Presence, and Affection

This collection is born from the memory of the Jequitinhonha Valley and from the delicacy of the everyday gestures that shape our history.

The pieces unite utility and beauty, inviting the essence, affection, and landscape of the Valley into daily life.

Everything began while I was creating a special doll — still waiting to be revealed at the right moment — carrying upon her skirt images of this enchanted everyday life. From that process also emerged the desire to transform these memories into forms that could be touched, used, and admired.

In the past, before running water existed in our homes, it was common to keep water jars in the living room, where guests would be welcomed. The gesture of one person washing another’s hands carried respect, care, and human connection. This memory inspires the collection, which revisits the original forms of utilitarian ceramics while also acknowledging the history of the dolls that were born from them — and that now return to their point of origin through new possibilities.

The surfaces of the pieces narrate scenes that live in memory and in the gaze: women sculpting clay, children playing, white houses between mountains, the river that calmly flows through everything, and the yellow and pink ipê trees blooming even during times of drought, illuminating the horizon.

Each object carries this collective affection, but also my personal perspective. These are pieces born from an intimate question — “Would I want this in my own home?” — and from an answer I carry with joy: yes. Because they were born from a truthful place, from a feeling that can be shared.

Here, memory and art intertwine. Between clay, presence, and affection, each piece invites you to create new stories while carrying with it a fragment of the Jequitinhonha Valley.