
2019, 22 x 12 x 14, Media: Colored porcelain, Porcelain, Firing Process: Electric, High-fire, Oxidation
Everlasting is a limited edition of porcelain wedding cars produced during my residence at the Gimhae Clayarch Museum in Korea. @clayarchmuseum The model, a 67 Ford Mustang, was produced to satisfy the desire of the consumer, not the necessity. So, even though this wide offer of romantic artefacts does not control the entire spectrum of intimate relationships, directly or indirectly, have throughly permeated our imagination: It is important to spend money to be loveable.

2018, 29 x 26 x 26 cm, Media: Colored porcelain, Porcelain, Firing Process: Electric, High-fire, Oxidation, Surface: Relief
An interpretation of the originally japanese lucky cat "Maneki Neko”. On his left hand, the cat is holding the Chinese symbol for love: 爱 (Ai) . On the right hand, the western gesture of the middle finger up. For this piece, I made a collaboration with the Bebon Ceramics Company in Dehua, focussed on the production of decorative lucky cats. The white version of this piece will be displayed in October this year at the Yingge Ceramics Museum in Taipei as part of the Yingge Ceramics Biennale.

2019, 29 x 27 x 10 cm, Media: Colored porcelain, Porcelain, Firing Process: Electric, High-fire, Oxidation, Surface: Relief
The project takes as its starting point the protests and demonstrations held in Hong Kong to demand the withdrawal of the controversial Extradition Law 2019, analysing the revolutionary symbology and deepening the relationship between love and political transformation. What is radical in a concept apparently as conservative as love?

2021, 25 x 16 x 14 cm, Media: Non-clay, Surface: Non-ceramic
Off Love aims to offer a reflection on the standardized and repetitive model proposed by dating applications where emotions are exposed to public manipulation, limiting and fragmenting our capacity for emotional closeness.

2019, 25 x 15 x 19 cm, Media: Porcelain, Firing Process: Electric, High-fire, Pit / Saggar fired, Surface: Relief
Quarantine is a long-term performative experiment that researches into the patterns of the standard emotional behaviour hinted at by the use of geosocial dating applications such as Tinder. The application is considered one of the most important in the current digital market allowing communication between people based on their preferences to chat and date.

2019, 27 x 15 x 17 cm, Media: Porcelain, Firing Process: Electric, High-fire, Pit / Saggar fired, Surface: Relief

2019, 150 x 170 x 120 cm, Media: Porcelain, Firing Process: Electric, High-fire, Pit / Saggar fired, Surface: Relief
The installation presents a collection of 40 individual porcelain gas masks fired individually in sagger boxes with carbon at 1260 °C. Each mask is unique and it has a very intricate handmade flower work on the vents. Using the nature of smoke, fire and heat to create blooms of colour and distinctive markings across the surface of the porcelain, producing spontaneous and unpredictable effects.This work can be sold individually or as an installation with a group of them.
Artist Statement
The technique of ceramic floral production is an industrial job that was entirely performed by women throughout the nineteenth and twentieth century in European ceramic factories.
In a hierarchically patriarchal framework, such as the industrial environment, female presence has always been a clear example of labor segregation that resulted in wage inferiority and therefore an economic dependence on women with respect to male workers.
In my work, I reproduce this floral industrial technique to outline the current commodification of falling in love and how emotional patterns are socially assumed as commercial icons in the production of a romantic utopia.
More recently, due to the Pandemic situation, I redirected my artistic research into how human emotions and affective bonds are established through social media and what is the role played by online dating applications in the age of social distancing.
Bio
Noemi Iglesias (1987) is a Spanish multimedia artist working with porcelain and long-durational performative formats. Her practice is concerned with the role of visual arts at the intersections of experimental disciplines, applying traditional ceramics techniques to generate innovative and provocative concepts within the contemporary art scene. Noemi is a natural observer of humans behaviors in different contexts and cultures and a clear example of what we call “contemporary nomadism”. Since 2009 the artist has lived and worked in Greece, England, Finland, Italy, Hungary, China, and Korea.In 2019 she finished her Master’s Degree at the Tainan National University of the Arts, where she researched contemporary ceramic practices for 3 years thanks to the Taiwan ROC Scholarship from the Taiwanese government.Recently, her work has been exhibited at the Zaha Hadid – Opus Tower Me Dubai building (UAE), the Gimhae Clayarch Museum (KR), the Taipei Museum of Contemporary Art (TW), the Oviedo Archaeological Museum, and the Alcora Ceramics Museum. This year, her work has been also part of the Yingge Ceramics Biennale (TW), the Faenza Prize (IT), Estampa Contemporary Art Fair, and the Mark Rothko Art Center, where she has been invited as a guest artist.Currently, Noemi is living and working in Lisbon, Portugal, where she is studying a PhD degree in contemporary sculpture at the Fine Arts University.