Ceramics have always been an essential tool for understanding and evaluating civilizations, a silent witness to their history, at the heart of archaeology. The artist does not subscribe to this tradition, creating pots with primitive, irregular shapes, shaped instinctively, without any quest for perfection.

Despite their size, these ceramics contain nothing material. They are full of thoughts, dialogues, and stories. Some contain the artist's reflections on language and her own difficulty learning the native languages of her country. Others bear the raw words of women miners she met in Potosí: excerpts from interviews transcribed without editing, respecting their manner of speaking, often in Spanish—a language that, sometimes, is not their own.

Still others feature the words of Latin American feminist authors committed to defending their territories. Their voices, though linked by common struggles, sometimes clash: the differences in ideas, contexts, and languages serve as a reminder that even within resistance, nuances and tensions persist.

These ceramics are containers of memory, stories, and conflicts, both fragile and powerful.