The "disease of Porcelain"

I was born in 1961 in Rome, where I live and work.
I attended the Linguistic High School and the Faculty of Law. I made a trip to Meissen in Germany (1970), where I began the adventure of porcelain in Europe. The merit was of the alchemist Johann Freiderich Bottgeralle who, in his experiment to transmute the raw material in gold, discovered the first deposit of kaolin in Europe, a sedimentary rock, from which it was obtained a creamy white clay, good to create porcelains made very similar to those coming from East.

porcellana, porcellane decorate a mano roma porcellana, porcellane decorate a mano roma

After this trip and after visiting the factory and the museum, I was also impressed by what in the eighteen century was called “the disease of porcelain”. In the eighteen century, the drinks imported from East and the New World, such as tea, coffee and chocolate, were drunk in imported porcelains. The consumption of these beverages often was difficult because they used poor conductor of heat and inadequate mugs like those made of glass, that in contact with hot liquids could break. In addition, the flavors should not be withheld or altered as it happened with tools made of wood or others materials.

Therefore the need to produce in Europe the ideal material that had the same requirements of Chinese porcelain was born.

Soon, from what might seem like a simple practical need, such as the manufacture of tableware in high- quality material, developed a much more important phenomenon. The porcelain was not a fleeting fashion but the result of a technical process. It was fascinating because the colors of painting changed during the baking, the gold acquired brightness. In contrast to other forms of arts, porcelain did not just remain an object of contemplation or of furniture but entered into homes and people’s daily life thanks to its use as tableware.

The art lost its usual abstractness and the refinement of taste did not allow to distinguish between artistic porcelain and porcelain of practical use. I would describe myself as an “Hausmaler”, the artist who in the eighteen century, in Germany, at the rise of white porcelain, bought white pieces and decorated them, not working for the manufactures.

Today, independently and possibly referring to the original decor of factories, I can also perform any decoration on white objects proposed by me and therefore I have a wide range of objects that are different in shape and style and suitable to be decorated.