Maru Melenlou

Please tell us a bit about yourself.

Before we delve into this interview, I want to express my gratitude for your interest in my work and for giving me the chance to talk about whatI do. I am a ceramic artist based in Athens, Greece, with a passion for the craft that has been an integral part of my life since the year 2000. While my academic foundation lies in the field of graphic design, my heart and hands have found their true calling in the world of ceramics.

What was your early motivation to express your creativity through clay?

My journey into ceramics began during the digital transformation of graphic design, when our tools were mainly markers, pens, brushes, and the computer as just another canvas. So in a quest for a more tactile expression, and in an effort to actually touch my two dimensional images, ideas and transfer them in the three dimensional we met with ceramic art. Simultaneously, personal challenges within my family led me to find solace and self-discovery through clay. It became both a sanctuary and a means to stay true to myself during trying times.

What is the process and the thinking behind your pieces?

In my view, in the field of ceramics, one creates forms to contain the emptiness. Inspired by Lao Tzu's rhetoric, who noted the usefulness of a vessel is its emptiness. In my work through my sculptural vessels, which sometimes resemble a human heart, a vital organ, or a musical instrument, I aim to create a pulsating space of uncanny familiarity. Although one cannot see the inside space and the emptiness, still one can trace the inner movement. White is delicate, fragile, and from the moment of its birth, it is destined to be "polluted." My vessel is not trying to be a perfect white; rather, it carries a layering, in an attempt to search for a way to feel whiteness.

I feel that my process is an open dialogue, a grounding experience that connects me with the earth, as I mold and interact with the clay. As we've previously discussed, it aligns with the concept of slow design, emphasizing a harmonious relationship with the elemental and natural aspects of the medium. This artistic journey fosters a lifestyle, a unique way of living, thinking, and being, enabling me to fully immerse in the present moment. However, it is also my job, and I am an everyday person. There are times when the creative process doesn’t flow effortlessly. It is a continuous aim for balance between discipline and surrender.

Can you share your thoughts on how important time is in developing such great details in your pieces and how do you respond to the challenges of working with clay?

Practicing slow design in the modern times of the fast lane performance and production can be quite challenging. The techniques we use have very little to no development from the ancient ones. On top of that, the medium has its own pace, and we follow a process that cannot be rushed. The nature of the elements in this craft is always present and prevalent. You have to be there and listen to your medium. It is a relationship, a hand-in-hand work.

How do you feel about working with your hands? Can you tell us more about the impact it has on your happiness and well-being?

Hands are one of the main channels of expression for humans. They can be seen as an extension of the heart. It is a two-way relationship in which arms function as a bridge between the inner self and the medium. I don't usually follow a specific design. I have a broad idea of where I want to go, and then I also allow things to happen. Of course, these are the good days; there are also challenging days where you have to push through.

We know that you are a graphic designer and have an educational background in this field. Can you share your thoughts on how your education and work experience in this area have influenced your approach to ceramics?

My background in graphic design has significantly influenced my approach to ceramics, allowing me to appreciate the intersection of art and design in a unique way. While I recognize that artistic endeavors often involve a degree of remixing and reinterpretation, I am driven by the desire to create pieces that bear my signature, not merely because they align with current trends or are in vogue.

Where do you think the biggest potential lies in preserving important local crafts in the contemporary context?

The context of contemporary culture involves endless information, quick stimulation, quick gratification that never comes, and quick results, while crafting stands in stark contrast to these values. And then you end up with high anxiety and burnout. On the other hand, if you practise a craft, you have to develop skills such as self-expression, commitment to long-term goals, patience, the ability to allow things out of your control to happen, accept frustrations, and trust the process. If this is your daily practice, it becomes a way of living that transcends the boundaries of the studio, offering a more grounded and less stressful lifestyle.