Eguzkiñe Zerain visited Lanzarote for the first time at the age of 15 and as soon as she came of age she moved to the island, where she trained in ceramics. Today, in addition to many individuals, she counts some of Lanzarote's most innovative hotels among her clients. In an interview with Ekonomus, she reveals how much of the island is in her works, talks about the impact that César Manrique's work had on her and encourages young people who feel art inside them to express it.
- How did you get to Lanzarote and what made you decide to move to the island?
When I was 15 I came on vacation because I had family here and I fell in love with the island. I loved the people and I always wanted to come and live here, so when I came of age I took the plunge and came here.
"In Lanzarote art is valued and there is work, although it cannot be forced or calculated, it just happens"
- Do you think that art in general and ceramics in particular can be a good career path for young people on the island? Is there business for more ceramicists?
Yes, there is work, although art is something that cannot be forced or calculated, it just happens. If it is something that happens in you and you have to express it, there you will find a career path. Especially if you can deal with the distrust that is usually generated around you when you start an artistic project. Also, I think that in Lanzarote art is valued.
- How has your work evolved since you started with ceramics?
I started with the reproduction of archaeological works with clay from the island, from the mountain. A time when I explored the aboriginal technique of cooking with fire and working everything by hand. Later I explored other materials that can last longer, for pieces that can be used every day.
- What is there of Lanzarote in your works?
The pieces speak of the island and its nature, which is very alive, the wind, the chaos, the lava... the irregularity and the beauty... But it is not something that I have set out to do, it is something that I see later, when I finish them, or when people tell me. I think that in the pieces I express my love for the island.
- Who are your main clients, any particular nationality? And among the hotels?
Tourism in general, although now little by little it is also reaching the people of the island. As for nationalities, a bit of everything, maybe the French the most. Also Spanish tourism, which perhaps before did not have so much appreciation for ceramics, has evolved towards a greater appreciation to have handmade pieces in their day to day.
Among the hotels, the first and with which I feel very close, is the Buenavista Lanzarote Country Suites. There you can find the pieces both for decoration and for breakfasts. Then I also work a little bit with Alava Suites and very often with the restaurant of the Hotel Palacio Ico. Nautilus also has some of my pieces.
I have also recently started working with the new Melia Salinas Paradisus, which is very keen to work with local artists, talking to them I felt a lot of respect for the work.
"When I arrived on the island and saw the Monumento al Campesino for the first time at 15 years old, I remember the enormous impact it had on me"
- Each of your pieces is unique, isn't it?
Yes, each piece is different. Each collection has a color, a finish, a shape, none is the same.
- Your most economical work and your most expensive work?
My most economical work costs 24 euros, it can be a plate, a glass or a bowl... and my most expensive work is being made (laughs).
- I have seen that you work with two main materials, Limoges ceramics and refractory clays, tell us, how are they worked?
On the one hand I use Limoges porcelain, and on the other refractory clay, which they send me from Valencia. I use it in white, black and gray and I work it at high temperature, cooked at 1,250 degrees. Normally it is glazed for culinary use, you can put it in the dishwasher as well as in the microwave. Lanzarote clay is not so resistant. I use clay from the Los Valles mountain for some decorations or finishes.
- What do you think of the figure of César Manrique, has his work inspired you in any way?
When I arrived on the island and saw the Monumento al Campesino for the first time at 15 years old, I remember the enormous impact it had on me. I have been getting to know his figure more and more throughout my years on the island and I think he is a figure that encourages and inspires everything that is to create and value nature. I think he is a figure of value, who had a very strong contact with the territory, with the materials and with the land. I think his base was beauty, nature and that love for the island, which he promoted on all sides.
