Profile of Pedro Saviñón

The Geometry of Silence, by Jorge Saviñón (2010)

The Geometry of Silence, Mural Ceramics by Pedro Saviñón.

Creativity moves freely in uncharted territories, there it goes. In familiar places, it loses agility, gains depth, and never stops moving. The creative spirit is endowed with a need for new paths to reach the same place. There, the language of the speaker is transformed, and it doesn't matter whether it is with stones, with hands, or with voice. The apprentice and the master coexist in the artist. One learns to find routes, techniques, skills, and the intention to learn more. The master preserves the inalienable knowledge of experience. But to know, is the end of the path of knowledge, and as knowledge will always be greater than understanding, mastery boasts among its capabilities the ability for the disciple to not know and begin again.

Pedro Saviñón began his apprenticeship at the "4 Vientos" workshop in Valle de Bravo more than thirty years ago. He worked in three other workshops over the next eight years. Gradually, in his search, he relegated his production to utilitarian ceramics and began exploring other formats, from jewelry to murals in many sizes, until he founded the "Jeroglifo" workshop in 1998.

At this point, his ceramic language transformed once again. He now integrated geometric reflections combined with the use of silence as a constitutive element of his new syntax. He created works

for different Architects and decorators, some important ones are " Amanecer Maya " (3.00 x 10.00) m, and "Ku.Kul.Khan" (2.00 x 8.00) m, at the Gran Caribe Real Hotel, in Cancun, "Krill" (6.00 x 5.00) m. and "El Agua" (4.00 x 6.00) m. at the Meliá Azul Ixtapa Hotel, Ixtapa Zihuatanejo. " Selva Adentro" (2.00 x 10.00) m, at the Unik Hotel, in Isla Mujeres; "A Nado" (2.00 x 10.00) m, in the Cozumel Fractionation, in Cozumel; "Danza Luna" (3.00 x 3.00) m, Leon Gto.

The workshop's logo is a faithful expression of this creative moment, integrating, in descending order, the signs of the Moon, the Sun, the elements, and fire, as an explanation of the process of their work, from inspiration to firing.

He has participated in several group exhibitions, including: 1993 "Todo de Barro" at La Casa del Lago, Chapultepec Forest, Mexico City; 1st Biennial of Utilitarian Ceramics, Franz Mayer Museum, Mexico City; Plástica Vallesana, Museum of Modern Art, Toluca; 2nd Biennial of Utilitarian Ceramics, Franz Mayer Museum, Mexico City; Colectivo Plástica, Regional Culture Center, Valle de Bravo; 4th Biennial of Utilitarian Ceramics, Franz Mayer Museum, Mexico City. In 2009 she held her first solo exhibition called "Desvariaciones de una línea y un punto" at the Casa de la Cultura, Valle de Bravo, and her second solo exhibition called "#".

He has received the following recognitions for his work: in 2000 he won the competition to create Patens and Chalices, Jubilee Mass 2000, for John Paul II, in the Archdiocese of Mexico, and in 2002 he won First Place in the 1st Biennial of Utilitarian Ceramics. Franz Mayer Museum, Mexico City. In this long search for his own language, he remains unsatisfied with his constant exploration, changing formats, styles, materials, and themes, but always recording the results of each small discovery or error in logs. On this path to his work, geometry has become more than an element of syntax and composition, as it transcends form and grants content the powerful and sharp clarity of silence.

Jorge Saviñón Maza