Clay and painting are the basis on which an ancestral methodology is constructed. By applying pictorial language to pottery, a disruptive narrative is created, clearly expressing the need to go back to the earth in times of infinite uncertainty.

Touch, the sense that communicates the most, is the sense with the biggest presence in pottery. Mastery of the trade is essential to create the pieces; sculpture springs from gesture and only takes on consistency through fire. The telluric forces of earth and fire, plus the patient humility of the artist, give birth to a series of shapes that go together to create large pieces of sculpture that can well be seen as totems. An ancestral component is added to the tellurics of pottery through the use of geometrical shapes, transformed and enriched by Albert Pinya’s characteristic iconography. Through pictorial language, pottery is humanised and begins to tell stories; civilisation as a reflection of thought resumes its position.