🎧 2025 Emerging Artist: Aniana Heras, Berlin, Germany Ceramics Monthly

Appears in the May 2025 issue of Ceramics Monthly.

The audio file for this article was produced by the Ceramic Arts Network staff and not read by the author.

Ceramics Monthly: Do you maintain a sketchbook for idea generation or as a supplement to your work with clay? If so, describe its use. If not, describe how you gather thoughts and ideas.

Aniana Heras: I don’t usually keep a sketchbook. Most of my pieces are improvised. Sometimes I have a general idea of the final outcome, but more often than not, I start completely clueless and am the first to be surprised by the result. I enjoy letting myself be guided by the process, allowing the piece to reveal itself organically.

Only recently, I started sketching for new pieces that combine wheel-thrown elements with slabs. However, even these drawings are quite loose—I make them quickly and adjust them along the way.

CM: How do you incorporate experimentation into your studio practice?

AH: I always try to push the material to its limits. Every piece I create is an opportunity to learn, and that continuous exploration is one of my greatest motivations. I’m deeply interested in challenging the possibilities of clay, testing new techniques, and developing glazes to further expand my creative vocabulary.

I also strive not to become confined to a particular style, even though I love working with coils. I’m drawn to creative freedom—the idea that each series of works can introduce something new and unexpected. In fact, I often wish I had more time solely dedicated to experimentation.

CM: What topics are central to your work and/or research as an artist, and why?

AH: My influences are diverse, ranging from the traditional ceramics of my region in Spain—humble yet intentional objects that go beyond mere functionality—to contemporary art, design, and architecture. I am particularly drawn to the intersection of tradition and modernity, exploring how historical forms and techniques can be reinterpreted in a contemporary context.

One of the themes that interests me most is how certain ceramic forms and functions have been shared across cultures throughout history. It fascinates me how some shapes and uses keep reappearing in different times and places, reflecting universal ideas. 

I am deeply interested in preserving both tangible and intangible heritage. Ceramics carries history within it—not only through the physical objects that have survived over centuries, but also through the ancestral knowledge, techniques, and traditions passed down through generations. In a time when much of our material culture is becoming increasingly disposable, I see ceramics as a way to preserve identity, memory, and craftsmanship, keeping alive the dialog between past and present.

Working with clay is an experience that extends beyond artistic expression—it is a way to reconnect with the body and embrace a slower, more mindful rhythm of creation. I truly believe the world needs more ceramics.

Learn more at www.anianah.com.