Sliding our fingers over the face of a ceramic bowl, placing our lips next to his, discovering through touch what surface characterizes him, we feel its textures caressing us. These, like a descriptive text, tell us about their factory and, if we pay attention, they tell us about their manufacturing process. But also, reading more poetically, we can listen to rhythms with our fingertips and follow them throughout their entire convex extension, leaving third senses to focus on their other properties, resulting, finally, in a holistic experience.

This tactile aspect, a priori the most superficial of our object, subtly encrypts not so obvious messages. Let's think that texturing raises the possibilities of a shape to infinity. Our footprints alone are capable of making a piece unique just by sitting on it. The tools that accompany the potter, unrepeatable if they are handmade or used personally even though they are commercial, generate imprints that not even one could repeat exactly on purpose. But beyond the tools that are used —which are consciously chosen— the state of mind will definitely determine the strokes, the dedication, the mime... In such a way that inevitably each moment will grant itself a texturing intimately linked to the feelings and thoughts that occupy the mind of the craftsman. Leaving thus, perhaps, woven on the fine and cold face of his vessel, where others only see lines, a veiled message of love.

Top image: Rosenberg, A. and Heyck, E. , 1905. Geschichte des Kostüms . Printed matter, Smithsonian Libraries .