Join us as we explore the practice of Joana, a Barcelona-based ceramic artist whose work is rooted in tactility, material, and quiet presence. With a background in user experience and human-centered design, Joana’s shift to clay began as a way to step away from the screen—seeking something slower, more physical, and grounded. What started as a ceramics class during her time in Mexico City gradually evolved into a dedicated practice.
For Joana, the act of working with clay is deeply tied to presence. The process reflects her internal state, requiring focus, balance, and stillness. Alongside her studio practice, she now teaches wheel-based ceramics, sharing both technique and a sensitivity to material that defines her work.
How did you start creating, and how did your relationship with making begin?
As a child, I jumped between hobbies like sewing and painting, but I never devoted myself to one. After high school, I considered these things just hobbies, so I studied communication media in the Netherlands. This led me to human-centered design and working in UX, which was corporate and not really, really creating. During the pandemic in Mexico City, I felt the need to do something with my hands and get away from the computer, so I signed up for a ceramic class. I found working with clay very therapeutical and loved that having hands full of clay prevents you from using a phone. I got more serious about it, took more classes, and still really enjoy working with clay. It's a beautiful material to work with and it's nice that you can destroy it and reclaim it and start again.
On quieter days or slower days, what does your practice look like?
If the sun is out, I usually sit in the sun with a coffee at the co-working studio's little Paris patio to think about what I want to do. If there isn't much I have to get done, the day is spent experimenting. I try out new forms, learn something new, or just play around with the clay and...not really make anything to keep, but just...see where I get to.
Do you find yourself drawn to any specific forms or certain ones that you really resonate with, as your practice evolves?
I love making and buying pieces that have some sort of texture or a more tactile experience. That's why I like when the clay is exposed without any glaze on the outside, which gives you the feeling of nature in your hands. You can feel the texture and see how the colors differ in various areas. I am drawn to the natural earthy tones of natural clay and would love to explore this more with glazes or colorants. I find the natural colors that come from earth very calming.
With the large number of ceramic artists in Barcelona, is there a feeling of competition or fear? And how do you deal with that?
Yes, there is. On one side, it's nice to have so many talented people in the community to learn from, including those who give workshops. On the other side, it's very daunting because there are at least go ceramic studios in Barcelona. I try to frame it as being nice to connect with people. However, the high number of studios would be a reason for me to definitely postpone opening up a studio because the risk feels much higher.
Is there a creative direction or material you want to explore but haven't yet?
Yes—within my ceramics practice, I’ve been wanting to deepen my understanding of clay itself. There are so many different types, and they’re incredibly regional. The clay you find in Catalonia is different from what you’d find in Italy, Germany, or the Netherlands. Even if you order clay from another country, it’s still locally sourced, so the material always carries subtle differences. It can get very scientific, and I’d love to explore that more—some people even go as far as sourcing and processing their own clay.
About a year ago, I went back to Mexico and spent time in Oaxaca, where there’s a very rich ceramics tradition. I visited a small town known for its red clay and spent a day with a group called Mujeres del Barro Rojo. Once a year, they collect their own clay, process it, and use different natural clays to create surface color. Being able to witness that process—and to understand the history and tradition behind these vessels and their forms—was really beautiful and grounding.
Outside of ceramics, I’d also love to work with wood. It’s such a beautiful material, but it feels a bit daunting—like something you really have to commit to in order to do well. Still, the idea of being able to make furniture or objects directly from a tree is something I’m really drawn to.
Do you have any studio must haves? A podcast? Playlist?
I think it depends. Sometimes it’s really nice being in a shared studio—it becomes a kind of community space. You can chat with people, see what they’re working on, and ask for tips. There are so many aspects to ceramics that it’s impossible to know everything, so that kind of exchange is really valuable.
That said, I also really appreciate having the studio to myself. It doesn’t happen often, but when it does, it’s nice to have that quiet, personal space to fully focus.
In terms of what I listen to, I have a bit of a guilty pleasure—the Reddit Stories podcast. It’s kind of like reality TV in podcast form, and it’s very easy to have on in the background when I’m working and need to concentrate.
