Italian Handmade Ceramics: The Contemporary Porcelain of Etra Masi in Faenza
- Sep 4
- 4 min read
Updated: Sep 24
In the landscape of Italian handmade ceramics, a few voices manage to weave ancient memory with contemporary vision. Among them is Etra Masi, an artist whose sculptural works in Faenza porcelain transcend function to become presences—silent yet powerful. Masi’s art is not simply decorative, but an act of slowing down, of observing the world through material. Her ceramics are contemporary sculptures rooted in tradition, yet deeply personal in their exploration of fragility, memory, and form.
As part of our ongoing series on Italian handmade ceramics, Avant Craft is delighted to share an exclusive interview with Etra Masi. In her own words, she reflects on her journey in Faenza porcelain, her philosophy of form, and the role of contemporary sculpture today.
“Porcelain allows me to leave it bare, without glaze. Its white, almost like marble, amplifies every gesture I make.” – Etra Masi
Born in Naples and trained in Sculpture at the Bologna Academy of Fine Arts, Masi’s work is shaped by a fascination for cross-cultural contaminations: prehistoric art, African sculpture, and Eastern traditions. Her arrival in Faenza in 2015 marked a turning point, as she immersed herself in the city’s rich ceramic heritage.
For a broader exploration of Italy’s most important ceramic traditions, see our Essential Guide to Italian Handmade Ceramics.
Beyond her independent practice, Masi collaborates with Italian design brands such as Miniforms, Giellesse, Desalto, and Cierre1972. She also teaches porcelain workshops at the Faenza Art Ceramic Center, continuing the dialogue between tradition and contemporary practice.
“Modeling clay has always been part of my life. But in Faenza I found a dialogue between ancient tradition and contemporary research that felt like home.” – Etra Masi
How did you begin your path in design and craft?
After completing my studies at the Academy of Fine Arts, I felt the need to focus my work. I had been modelling clay since I was fifteen, but I wanted to see more, to explore beyond my own world. Choosing Faenza, the Italian city of maiolica, was a natural step. After some years in artisan workshops, I opened my own studio here.
Which materials do you love most, and why?
I have always been drawn to natural materials—stone, wood, metal, and clay. Clay became my element because it follows the hands that model it. With porcelain, I can leave the surface bare. Its white, similar to marble, amplifies every form I want to create. The quartz inside vitrifies at high temperatures, producing a body that is both fragile and strong, halfway between glass and ceramic.
Is there a philosophy or inspiration that guides your work?
Observation and memory move me. I observe everyday gestures, water, and the renewal of nature. Each work contains something I cannot yet see, like a whisper. My focus is on the inner life of forms, not their external representation.
Can you tell us about a piece you are particularly connected to?
I am deeply connected to Albaspina (Whitethorn). It is a long porcelain sculpture made of four elements, selected for the Blanc de Chine International Ceramic Award in 2023. It began as a more complex work, but over time I realized it needed to be stripped down to its essence. With Albaspina, I learned to stop at the moment when a form feels alive, rather than overwhelmed by too many elements.
How would you like your work to be perceived in people’s homes?
Any three-dimensional object, regardless of size, changes the space around it. Every solid creates a void, every gesture perceives an object as a presence. I would like my works to become active presences for those who welcome them into their homes—custodians of life and echoes of memory.
How has your aesthetic research changed over time?
My training began with reproducing busts and reliefs from Greek and Roman statuary. The human body was my first master. Moving away from figuration was difficult, but gradually I found freedom in abstraction. Today, I create forms that exist for themselves, liberated from literal references.
Albaspina: A Work of Transformation
Among her most emblematic works is Albaspina (Whitethorn), a porcelain sculpture over two meters long. It embodies her pursuit of essential form, her philosophy of subtraction, and her vision of porcelain as a material that amplifies simplicity.
Italian Handmade Ceramic as Contemporary Sculpture
Masi’s ceramics are not inert. They are active presences in the environments they inhabit. Her vessels, spheres, and sculptural forms hold space in ways that feel protective, like silent guardians.
The material itself holds the key. She has worked with stone, wood, and metal, but clay—especially porcelain—became her chosen language.
“Porcelain allows me to leave it bare, without glaze. Its white, almost like marble, amplifies every gesture I make.” – Etra Masi
This philosophy is reflected in her creative approach: subtracting rather than adding. Her forms embody simplicity, clarity, and a sculptural silence that speaks to those who encounter them.
Conclusion
Her ceramics invite us to pause, observe, and listen. In their surfaces we see traces of hand and memory; in their forms we encounter presences that transform space. Rooted in the heritage of Faenza porcelain, yet unbound by it, her work speaks to collectors who value not trend, but meaning.
For the Cultured Collector, her vessels embody exactly what makes Italian contemporary ceramics enduring: craftsmanship, cultural depth, and the quiet power of simplicity.
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