I had the opportunity to visit the open studio MASHIN and immerse myself for a while in the small universe where ceramic pieces, enamel jewelry, and paintings interact with an ambiance that invites introspection and sensory enjoyment.

The exterior, with its opaque black windows and abstract neon shapes, awakens immediate curiosity: a kind of implicit invitation that protects the interior as if it were a small secret hidden in the urban routine. The facade is an experience in itself. The neon shapes, with their radiant energy and minimalist lines, act as a symbol of modernity, playing with the idea of the gallery as both a passageway and, at the same time, a destination. On this occasion, the display broke its usual mystery by incorporating mannequins wearing the pieces of jewelry. This gesture, far from diluting the enigma, opened a dialogue between the utilitarian and the sculptural, generating a unique interaction with the occasional spectator.

Upon crossing the entrance and leaving behind the commercial gallery, the interior space reveals a contained world. Here, strategic lighting and shelves filled with small objects —frames, sculptures, and enamel ceramic jewelry— create an intimate workshop atmosphere that invites one to linger and explore. The layout of the space maintains a coherence that reinforces the personality of the studio. The walls are adorned with paintings and small sculptures, integrating different artistic languages that oscillate between the pictorial and the utilitarian. This duality reaffirms the interdisciplinary approach of the artist, who uses ceramics not only as a sculptural support but also as a means to bridge design and contemporary art. Each piece seems to tell its own story, but at the same time, is part of a harmonious whole. The neutral and focused lighting highlights the shiny glazes and pearlescent tones of the ceramics, making each work come alive under the spotlight.

The heart of the visit, however, was the meeting with the host, thank you for having me.