Marta Lorca


It seems like Marta Lorca and CASA LAMAR were destined to meet. In her speech, in her work, we recognize ourselves, we project ourselves, we enrich ourselves. Its understanding of the material, its constant play with the possibilities of form and that border terrain that lives between the artistic and the artisanal, is the natural space on which CASA LAMAR gravitates. Paths destined to be traveled together.

Marta Lorca (Madrid, 1968) knows and feels what she does, as well as what she says. Her dialogue with the material, the way her hands converse with the clay and the shape and the color, how her gaze runs, flows, with nature and the landscape, are vividly expressed in the way Marta talks about her creative process.

“(…) I never know if it is an algae, a flower or a column that moves between my hands. It's a search, I ask the clay what it wants to be. I spend hours in my studio waiting for each piece to respond to me, to surprise me; (…) It is fascinating when it agrees to stay, granting me, as if it understood me. In that tacit dialogue with the material, the works are defined.”

This constant and creative conversation with the possibilities of physical nature has led Marta Lorca to participate in important projects in which diverse disciplines, materials and aesthetics intersect and meet, link and merge, as in Queridas Viejas, a group of plates with portraits of artists from the 11th century to the present day together with the plastic artist María Gimeno, as well as their works exhibited in museums such as the Thyssen Bornemisza or the Royal Palace of Madrid, without forgetting the worldwide production of exclusive designer tableware for the chain of Salvaje restaurants present in Madrid, Valencia, Paris, Caracas, Venezuela, Qatar, Marbella, Barcelona or Bogotá.

At CASA LAMAR we love the connection that Marta feels with Cádiz and the south, the power that light and the sea have in her work. We are moved by her creations that remind us of marine forms, algae, rocks and cavities that inhabit memory. Her pieces have a quality that few achieve: they seem to be made by that ancestral sense of beauty with which nature expresses itself, that primordial dialogue, always new and wild, between matter and form.