Cántaro was born from a desire to elevate traditional Tonalá clay into a lighter, more refined expression. I collaborated with master artisans to explore the potential of “barro canelo” (cinnamon-hued clay), aiming for a smoother, finer surface finish than is typically found on such planters.

In addition to exploring the clay’s texture and thickness, we developed a second version using Tonalá’s black clay. This technique is preserved by a single artisan family who generously shared their expertise, teaching us how to naturally blacken the clay through a second firing with eucalyptus leaves. The result is a deep, distinctive black hue born from the material’s transformation by fire.

This process also fostered a particularly meaningful exchange between workshops: knowledge was shared from one artisan family to another, creating a transfer of expertise that expanded the project’s possibilities. Beyond the final object, the experience reaffirmed for me the value of craftsmanship as a living tradition—knowledge that can be shared, transformed, and adapted to new contexts.

I also wanted to lift the clay off the ground and imbue it with a sense of lightness. To achieve this, I designed a steel rod structure that supports the planter on three legs. Each leg ends in a diagonal cut that meets the clay at the top, creating a subtle point of contact between two contrasting materials: the solidity and warmth of the earth versus the lightness and precision of the metal.

Proportion was a key aspect of the design. I developed two sizes to fit standard commercial plastic planters, carefully defining the height-to-diameter ratio using multiples of three. This modular approach establishes a serene rhythm that organizes the relationship between the clay volume and its supporting structure.

For the initial version, I collaborated with visual artist Ricardo Luévanos; he designed a pattern that was subsequently screen-printed onto the planters’ surfaces by PopDots. Graphic design adds a new layer to the clay form, creating a dialogue between material, surface, and craftsmanship. The piece brings together diverse processes and forms of knowledge: clay modeling and finishing, experimentation with natural pigments, metalwork, and graphic printing.

It is currently produced by Tributo.