Leí and Augusto are artisanal ceramicists born in the small Brazilian countryside city, Cunha. They both grew up on farms with an immense amount of tradition and space to create and feel. Reflecting  on the nature of walking to school or the city as children, they identify deeply with the space they grew up in of moving towards something with intention. Their upbringing and environment shaped their practice to be one that honors how things were made outside of industrialization. In their kitchens, pots and utensils were made from clay, an early inspiration and introduction to ceramics. These warm domestic pieces would go on to shape the trajectory of their art and lives.

“I  have a very strong connection with this, my infancy is a time to remember for that reason.”  -Lei

“I identify myself with the countryside. The simple life of a farm.” -Augusto

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Drawing inspiration from both nature and their heritage, Lei and Augusto started making their own ceramics at the age of 16. In honoring their cultural traditions, they created an approach that integrated both primitive ceramic techniques with newer advanced methods. This intention is clear in their dedication and passion through which they continue to carry out their work. 33 years ago they opened Ateliê Augusto Leí, their joint ceramics studio which includes a traditional Japanese Noborigama kiln and an annex for exhibitions. By showcasing their work they keep the rituals of their heritage alive. Additionally, the physical construction of their studio offers an homage to the cultural ritual of hand pressed pottery bricks, which is an important part of the history of ceramics in the city of Cunha. ‍

“I was influenced by the pot makers, Mrs. Dita Olimpia, and Mrs. Anuncia, who were women from the farm, and used to make ceramic by using a primitive technic, a rudimentary form of work, burning. And this is how I started, I was really young and had those influences, the primitive ceramic and the new and advanced ceramic technic.”- Lei

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Their commitment to process and technique is mesmerizing and transports the viewer to appreciate a different time with different elements that were a crucial part of the artist’s practice. Working with their kiln is as much ritual as it is process. They make around 1000 pieces to entirely fill the kiln, which takes them about two months, and then they burn each piece twice, which takes up to 40 hours each time. This timeline of making is a beautiful notion of the connection to material and what binds us to the lineage of culture. In their city of Cunha, they host celebrations the day the kiln is opened. It is here, where their holistic intersection of living and creating, keeps these parts of themselves alive through an authentic and mindful approach. They both honor and integrate different techniques that showcase their ingrained connection to the clay. In Augusto’s practice over time, he learned the techniques of turning pans and continues to highlight this production by providing access to a traditional utilitarian part of pans. Lei committed to building a Noborigama oven, which is a technique and endeavor few master. It is slopped to allow for continual burning; the entire studio building also follows this slope and steep design. It is rare to come across artists that are still so dedicated to process and committed to the articulation of form in every part of their practice.

Patience and surrender is crucial in the practice of ceramics. They both reflect that a certain dedication to develop one’s personal style is needed. In a time when we seek immediate results, their work reminds us of the beauty and importance of slowing down for intentional processes.