July 28, 2025 | VOL 15
an ODE to SOFTNESS and COMFORT
words Onur Basturk
photos Studio Mut’s, Ibrahim Touhami, Studio B.Helle
Maison Mouton Noir, Laila Pozzo
Elisa Uberti’s sculptural works look as though they belong to another planet—even exuding futuristic qualities. When I share my observation with her, Uberti responds: “My intention isn’t to create something futuristic, but rather to design a unique microcosm that reflects my artistic sensibility and defies conventional standards… Through my deeply personal work, I express my dreams and emotions. That said, I am indeed drawn to certain futuristic visions—especially in the realms of utopian architecture and urban planning. For example, the bubble houses of the ‘70s or the futuristic vision of Metropolis. These elements likely imbue my work with an out-of-time or other-planet dimension".
She also mentions that she works very instinctively, creating “emotional, sensitive, and timeless pieces”—like an ode to softness and comfort. Although she explains that the form of her ceramics evolves over time based on the inspirations and ideas she wishes to express, she never forgets to add: “The essence has remained the same from the very beginning.”
EVERYTHING RELATED TO HABITAT, WHETHER IT’S ARCHITECTURE OR PRIMITIVE HUTS, FEEDS MY THINKING AND MY CREATIVE PROCESS
So, what inspires her the most? She lists her inspirations as follows: “What inspires me most is the idea of dwelling as protection—the notion of comfort that lies at the heart of my work. Everything related to habitat, whether it’s architecture or primitive huts, feeds my thinking and my creative process. Primitive art and crafts in general are also major sources of inspiration for me. I like the idea of creating a form, whether functional or not, using very few materials and tools. This allows me to refocus on the essence of creation. As my discoveries and desires evolve, so do my sources of inspiration; the list is infinite and in perpetual motion.”
Uberti explains that in her work she also explores the relationship between the frugal use of time and beauty. This approach is about beauty emerging not through haste and speed, but through care, the unexpected details revealed by the process, and natural authenticity. In short, it’s the complete opposite of rapid production! She summarizes: “My work is part of a slow design approach. When a customer orders a piece, they sometimes have to wait several months. The process requires patience and a certain flexibility, because sometimes I spend more than a week on a piece that eventually cracks or breaks as it dries.”
EACH PIECE IS HANDCRAFTED, SO EVEN IN LIMITED SERIES LIKE THE LAMPS, EVERY ITEM IS UNIQUE. TREATED AS SCULPTURES, NO TWO SHARE THE SAME FORM
And what about the secret of her technique?
“I very rarely apply glaze, as I like the raw texture and natural nuances of the clay,” Uberti explains. “I work with the Colombin modeling technique, which consists of building up a shape by superimposing strands of clay and then smoothing them. A technique that has been used for thousands of years, it requires only a few hand tools and allows great freedom of form. In my work, I'm constantly seeking a balance between technical constraints and freedom of gesture.”
Elisa Uberti describes her work as straddling the boundaries between art, design, and craft. “However, since my approach is fundamentally sculptural, I primarily identify myself as an artist. The functionality of my pieces becomes almost secondary. Even though some pieces do have a purpose, above all, I strive to create delicate, emotional objects. At the same time, as a designer, I am very attracted to the idea of designing collections—especially in collaboration with retailers, galleries, or publishing houses.”
THE MOTHER’S WOMB IS A PROTECTIVE SANCTUARY, AND THERE’S NO DOUBT THAT AN UNCONSCIOUS CONNECTION EXISTS BETWEEN MY WORK AND PREGNANCY
When she was studying ceramics, Uberti mentioned that she was pregnant with her second child, and she recalls that the round shapes she was developing at the time gave her the feeling of caressing a baby’s head: “The mother's womb is a protective sanctuary, and there’s no doubt that an unconscious connection exists between my work and pregnancy—a connection that influences my approach to form and material.”
Before she embarked on ceramics, Elisa Uberti’s life was immersed in an entirely different world: the fashion industry. Having worked in fashion for 15 years, she even created her own ready-to-wear brand: “It was an adventure that allowed me to express my creativity through clothing—a truly enriching experience. Then I joined the retail sector, where I spent many hours in front of a screen designing numerous garments. After a while, I felt the need to return to a more manual, sensory approach with a different relationship to time. Moreover, mass consumption, the lack of transparency in production factories, and the obsolescence of products discarded season after season had become too far removed from my values. It was essential for me to reconnect with an artistic practice that resonated more with me.”
So, how did her path intersect with ceramics? Uberti shares the rest of her story: “Sensitive to the beauty of ceramic objects, I naturally turned to craftsmanship. I love the contact with clay, which allows me to reconnect with the primitive work at the origin of object creation. Textiles still influence my work today. In particular, I use soft, supple, light, and mobile woolen yarns, which contrast with the coarser, more rigid ceramics.”
