Her first contact with clay came at the age of 18, in the art workshop of DEPA Kalamata, under the guidance of teacher Myrto Magganaris. It was there that she realized pottery, for her, is a continuous effort to express her inner world. She has been working with ceramics — especially the Raku technique — for many years. Her journey continued with Spyros Arvanitis, with whom she worked for 18 years, ultimately falling in love with the Raku technique.

The Raku technique

 “Raku” in Japanese means pleasure or enjoyment, and it refers to an ancient Japanese ceramic technique originally developed to serve the needs of the traditional tea ceremony. During these rituals, both the host and guests would often improvise, creating and firing their own vessels — objects made to enhance the joy and intimacy of the occasion. This creative act was not only practical but also symbolic, serving as a form of social interaction and a deeper means of communication.

Raku ceramics are fired once or twice in an open flame, at temperatures not exceeding 1000°C. The clay remains porous, making it receptive to the magical penetration of smoke during the reduction phase — a critical part of the process that gives Raku its distinctive surface effects. Decoration is applied using white or colored glazes, metal oxides, and, notably, silver nitrate, which creates the characteristic random and uncontrolled striations. These marks, unique and unpredictable, are central to the expressive identity of Raku.

While historically a form of artistic expression tied to ritual, Raku has evolved to meet modern aesthetic and functional demands. Today, it is used in the creation of microsculptures, wall installations, and large flat ceramic works.

The resulting forms are both earthy and transcendental — shapes that seem to give birth to one another, to come together and fall apart, to vanish and reappear before our eyes, telling ephemeral stories that dissolve slowly in time.