Andorran Artist Eve Ariza Champions Tactile Art Against AI Dominance
Self-taught sculptor Eve Ariza emphasizes hands-on creation in ceramics and performance, rejecting AI's emotional void while restoring a historic.
Key Points
- Self-taught from youth, Ariza adapts to ceramics' volatile firing process.
- Known as 'plural' artist for defying categories, identifies as sculptor.
- Uses blue to symbolize informational overload and truth discernment.
- Skeptical of AI in art, values tactile experiences; restores sundial interpretively.
Eve Ariza, an Andorran artist known for her multifaceted practice spanning sculpture, painting, ceramics, and performance, emphasises the tactile essence of art in an era dominated by artificial intelligence.
From a young age, Ariza has pursued creative work independently, without formal art training or classes. "I've always made things with my hands," she said, describing her self-directed exploration into the field. Her process treats each medium as a unique challenge. Ceramics, in particular, demands precision, she explained, as the material—and the firing process—ultimately dictates the outcome. "You have ideas, but often you must adapt because the material leads you elsewhere," Ariza noted. Transitioning from ironwork to ceramics felt gentler yet unpredictable: "It's volatile—who decides is the fire. You can do everything right, but you don't know until you open the kiln."
Colleagues often call her "the plural" artist for blending disciplines, defying neat categories. Ceramists, performers, and painters alike hesitate to claim her fully, yet she identifies most closely as a sculptor. That solitary studio labour with raw materials remains central, though she enjoys transforming personal learning into shared, collective experiences.
For over two decades, her work has explored blue as a metaphor for informational overload—the saturation of words and the growing difficulty in discerning truth from falsehood.
On AI's role in art, Ariza remains sceptical. "I only believe what I can touch and smell," she said, prioritising bodily and material experiences. While acknowledging it as a potentially useful tool, she highlighted its risks and emotional limitations. "It hasn't given me goosebumps yet," she remarked, adding that "you need to be very intelligent to use it well in art" and that it is unlikely to replace artists entirely.
Currently, Ariza is immersed in restoring a sundial by fellow artist Sergi Mas, damaged years ago. Her approach goes beyond replication: it offers a respectful reinterpretation that captures the original's spirit while weaving in her own contributions.
Original Sources
This article was aggregated from the following Catalan-language sources: