It happens only rarely, but when it does I recognise it once it occurs. A “wow, it's true!” strikes the analysis of the piece. The ceramic work of the artist Victor Mira provoked this with his piece Antihéroes, and it has been happening with the recent work of Juana Fernández. Expression, intention and plasticity are seamlessly integrated with the material used in her sculptures.
Clay is the medium through which, far from trying to capture that instant of the author's energy, gesture, force, and drive, Fernandez is able to imbue us with the whole process of creation. We can see the fingers feeling the clay in small portions and, thus, the author lets us enjoy pieces that are thoughtful, intimate, and as close as the feel of our own skin.
The artist deceives the viewer. First she catches the viewer and brings them into the piece, then she contaminates it and explains it to them. That process produces a closeness to her work which is unusual. In some pieces it is an innocent naive attitude, sometimes achieved through colour, and sometimes through simplicity, but always with an intuitively calculated meter.
I invite you to immerse yourself in the poetry created by Juana Fernández. Put on some good music and walk, walk, walk around every detail of her work.