Claudio Campana. Technique as Language: Scagliola, Liquid Porcelain and the Discipline of Making
- Feb 6
- 5 min read
Claudio Campana’s practice unfolds at the intersection of theory and making, where historical knowledge, technical discipline, and material research converge. Trained in art history and deeply rooted in artisanal practice, Campana belongs to a generation of independent Italian ceramic designers and artisans who approach contemporary design through process rather than form alone. His objects — whether sculptural or functional — are never conceived as isolated pieces, but as the result of a long, methodical dialogue with materials and techniques.
At the core of his work lies an enduring fascination with how techniques shape thought, guide gesture, and open unexpected paths of expression.
In this conversation, Campana reflects on his background, his relationship with scagliola and liquid porcelain, and the role of variation, imperfection, and limited production in his practice.
How did your journey into design and craftsmanship begin?
I began with theory. I studied Art History at the University of Bologna, driven by a deep fascination for expressive languages and for the communicative power of art. At first, this attraction was instinctive, but I didn’t yet have a form or a language that felt truly mine.
It was through studying different artistic and artisanal disciplines that I gradually acquired the tools to express myself and, above all, shaped the way I approach materials. Working with functional objects came almost naturally — it remains a constant stimulus for research and experimentation.
“Working in small series frees you from seriality and opens you up to variation — allowing each object to carry its own sense of uniqueness.”
Which materials do you feel most connected to, and why?
More than a material, my first true love was a technique: mould making. It provided the structural foundations upon which my entire expressive language is built. Mould making gives you a shell — an empty structure — that still needs to be filled with meaning and substance.
Scagliola was the first technique that allowed me to translate the forms I had in mind into reality. It offered an extraordinarily rich and articulate expressive grammar and immersed me, for the first time, deeply in artisanal practice. It is a technique that requires slowness, focus, and a high level of concentration.
Later, porcelain entered my practice. It opened the door to the world of the table and functional objects, expanding aesthetic possibilities while connecting my work to a millennia-old tradition that is both technically demanding and endlessly fascinating.
Scagliola vase and 'Salt and Pepper' by Claudio Campana
Is there a philosophy or guiding principle behind your work?
Artisanal practice is made up of fragments that slowly sediment — fragments of gesture, repetition, and experience. Over time, they build an awareness that continuously generates new impulses and directions.
Beyond external references drawn from art, architecture, or craft traditions, I believe it is the technique itself — or rather, the techniques — that constantly breathe new life into the work. It’s about observing closely and consciously what you are doing, and from a small opening creating entirely new windows of possibility. Inspiration is limitless if you train both your gaze and your ability to listen.
How did you begin working with liquid porcelain, and why did you introduce 3D printing into your process?
As mentioned earlier, the common thread in my research is working with molds. Translating this approach to liquid porcelain was therefore quite natural.
In slip casting, plaster molds are filled with liquid clay. The plaster absorbs water like a sponge, and within minutes a denser layer forms along the inner walls of the mold. Once the excess clay is poured out and the mold is opened, the object emerges.
Within this process, the real space for intervention lies in the nature of the mold itself. The integration of 3D printing into mold-making has been an established practice for some time. My approach has been to intervene at the design stage, creating forms composed of modular elements that can be modified and alternated.
This allows me to produce objects that share the same formal identity while differing in surface and detail. Modularity also extends to combining molds from different objects, creating hybrid, reconfigurable forms — like a puzzle made of plaster components. Technology, in this sense, becomes a tool that expands and supports manual practice rather than replacing it.
Porcelain vessel produced through slip casting by Claudio Campana
What is scagliola, and what drew you to this technique?
At present, scagliola is not the central technique of my research, although it remains deeply important to me.
Scagliola is a Baroque technique that emerged at the end of the 16th century and spread widely across Northern and Central Italy until the early 19th century, before gradually disappearing. It consists of a mixture of gypsum, animal glues, and natural pigments which, when combined according to precise compositional rules, creates a material with marble-like qualities.
Through a long process of sanding, filling, and finishing — followed by the application of waxes — the surface becomes polished and luminous, comparable to natural stone. Over the centuries, numerous variations and methods have developed.
Scagliola entered my research initially through fascination: the idea of inventing stones or marbles with impossible colours was a powerful starting point and aligned perfectly with the direction of my work at the time. Through practice, I learned to love it for its demanding process — for the difficulty, the attention it requires, and the patience and dedication it demands.
What does it mean for you to work in small batches or limited editions?
Limited editions allow you to let go of concerns around seriality. Artisanal work is rooted in manual practice, where error is intrinsic and its trace remains visible in the object, giving it a special sense of uniqueness.
Small series free you from the pressure of repetition and open the door to variation. In my case, this applies particularly to porcelain. My research has long focused on variation, modularity, and uniqueness. By maintaining certain formal characteristics while introducing differences, the object gains energy, becomes singular, and the work itself becomes far more engaging and enjoyable.
Bio
Born in 1992, Claudio Campana studied Art History at DAMS, University of Bologna, graduating in 2016. He later pursued in-depth training in traditional artistic techniques. In 2019, he specialised in Artistic Mould Making under Master Fausto Mosca at Sermig in Turin. Since 2020, he has practiced scagliola, studying with Master Mauro Patrini at the European Centre for Restoration in Thiene.
In 2023, he completed a specialisation in Design Production Techniques at the Centro Ceramico Sperimentale in Montelupo Fiorentino. His work has been presented in several group exhibitions, including Homo Faber (2024) at Fondazione Cini, Venice, and the BeCraft European Prize in Mons. He currently lives and works in Castelfiorentino, near Florence, Italy.
“Scagliola taught me slowness, attention, and patience — it is a technique that demands total concentration and rewards deep dedication.”
Explore the collection
A curated selection of works by Claudio Campana will soon be presented through Avant Craft, in dialogue with the research documented in this Journal entry.
