My journey in ceramics began during the pandemic lockdowns. I started consuming a lot of online content and became interested in some girls who made ceramics on YouTube. I loved the idea of seeing them drink coffee and have breakfast from crockery they had made themselves, and I decided I wanted to try it too. At first it was very hard to get hold of clay in Maputo and to find anyone who taught ceramics, but after a few months of searching I found Mapfara Sitoe, with whom I started ceramics classes. It was love at first touch. Although it was challenging to start something completely new and to face the insecurity that comes from not knowing how to do something as expected, I loved everything about ceramics right from the start! My initial interest was only to make little plates and cups, like the girls on YouTube I followed, and possibly to launch a small online business, but fortunately Mapfara challenged me to draw more on my creativity and to find in ceramics a channel for my artistic expression, so much so that I believe my creations today are a combination of functional pieces with an artistic touch. As my dedication to ceramics grew, I came to realise what I really want to do. It has been a very beautiful journey to be able to explore my creativity and express different sides of myself, for which I sometimes lack confidence in words.
Anyone who comes to the ceramics classes in my studio finds everything ready; they just have to turn up and create
The Kappausse studio, for its part, was born when I realised that, just as I had had difficulty at the start in finding someone who could teach, knowing where to find clay and how to fire the pieces, there were many other people who were also interested in the art of ceramics, but access was very limited. So I decided to expand my space and welcome more people to discover the magic of clay. Anyone who comes to the ceramics classes in my studio finds everything ready; they just have to turn up and create.
Everything inspires me; I feel that in ceramics I find a vehicle for self-reflection and expression, which makes it easier for me to express many things for which I perhaps do not yet have the spoken vocabulary. Although I only began making ceramics very recently, I believe I have lived through several phases of expression, each motivated by different factors. But a common denominator is always my intellectual, sensual and even spiritual interaction with the various manifestations of feminine energy, mainly through the body and nature. However much I am in constant (de)construction of my artistic expression, representations of the female body, the moon and the sea are constant elements in my creations. Beyond all that, I believe that none of my creations depend only on me and on what is going on in my head or my heart.
Often, the clay also guides me, and the final product is a joint creation. My first mention will always be Reinata Sadimba, not only for her ceramic work in terms of technique and the representation of themes that also interest me greatly, such as family, sensuality, traditions and ancestry, but also for the figure and personality she herself is, an eccentric woman who challenges norms and expresses herself beyond restrictive dichotomies.
I am immensely inspired to see the people who come to the classes discover a new talent. To receive photos of the items made in the studio coming to life and being put to use in the lives and homes of the people who made them. To know that the small annexe at the bottom of my yard has become a space where people can reconnect with a creative side that was dormant or even unknown. To witness the awakening of creativity. I think these have been the most significant experiences, because I also know the magic of clay, so it is always a pleasure to share these moments with other people.
Access to this activity is one of the biggest challenges to the growth of ceramics. Although it is a relatively simple practice (in very simplified terms, for artisanal ceramics, which is what is practised in my studio, all you need is water, earth and a wood-fired kiln), there are still few places where you can come into contact with ceramics. I hope that the more people have access to and understand the dynamics of this form of expression, the more studios can spring up in the city and the more diverse ceramic expression in Mozambique will be. And that more women can join in!
Beyond ceramics, I really enjoy exploring audiovisual work and writing. I am still a little critical of what I do through these other media, but expressing myself through ceramics has helped me to be a little bolder. I also like to use drawings and paintings to facilitate conversations and group reflections about the body and sexuality, especially among women and people who do not fit the standards of sexual expression dictated by society.
For the future, I want my studio to grow and to contribute more and more to the appreciation of, and access to, art in Mozambique. I am interested in extending the ceramics classes to other audiences, working on the production of cultural events, expanding the use of art for activities that explore the relationship with the body and sexuality, and promoting gatherings and reflections on culture and art. For more information, Instagram: @kappausse
