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PHOTO CREDITS : Martina Orska
Multidisciplinary artist Pascale Zintzen, founder of Oikos Estudio, has always evolved in a world where creation is essential. Trained in painting, drawing, and sculpture, she deepened her artistic vision with studies in archaeology and art history before fully dedicating herself to ceramics. Between Barcelona and the rural landscapes of the Ebro Delta, she shapes poetic pieces, blending clay, natural pigments, and Mediterranean influences. Her collaboration with Sessùn Alma reflects a deep affinity for craftsmanship and raw materials, anchoring her work in an approach where every object carries a singular story.
Can you tell us about your journey and background? What experiences led you to ceramics and a multidisciplinary approach to art?
I have always been immersed in a creative process. As a teenager, I attended an art school almost daily alongside my traditional schooling, where I spent six years learning painting, drawing, and sculpture. At 18, even though I was passionate about hands-on artistic practice, I chose to study archaeology and art history at university, which enriched my aesthetic vocabulary, especially in relation to ancient domestic objects. Later, I also obtained a degree in traditional tapestry, which strengthened my love for artisanal gestures, slow craftsmanship, and the joy of studio work.
These experiences have shaped my multidisciplinary approach, weaving together clay, painting, and textiles. In 2020, I was offered a ceramics class where I learned hand-building techniques like coiling and slab work. From that moment on, I haven’t gone more than 48 hours without working with clay.
How did your collaboration with Sessùn Alma come about? What does it mean to you, both artistically and personally?
My collaboration with Sessùn Alma was born, I believe, from a natural affinity between our worlds. We share a passion for craftsmanship, natural materials, authenticity, beauty, and pieces that stand the test of time.
We started working together with a selection of ceramic pieces for the boutiques in Barcelona and Marseille, and later for the new flagship store in Paris Bachaumont. On both a personal and professional level, it has been an incredible experience for me—a chance to share my work with a brand I’ve adored for years and to present it to a wider audience.
What affinities do you feel with Sessùn's universe?
Sessùn’s world resonates deeply with my artistic work. Natural, humble, raw, and primitive materials. Their commitment to craftsmanship and sustainability mirrors my own creative philosophy—each piece I make follows a slow, respectful process. I think we share an appreciation for the sophistication of raw, primitive, and traditional materials. And simply, a love for handwork.
What are the major influences that shape your creative process?
My studies and fieldwork in archaeology have heightened my sensitivity to the aesthetics of ancient everyday objects and their craftsmanship. This forms the foundation of my artistic vocabulary. The Wabi-Sabi philosophy, which embraces the beauty of imperfection, also guides my work.
Beyond that, Mediterranean life, with its light, textures, and landscapes, infuses my creations. And most of all, I believe, motherhood, single parenting, and the daily realities that come with it deeply influence my art—which speaks of feminism, care, and creativity. My personal situation is both a constraint and an incredible springboard.
If you had to choose one emblematic piece of your work, which one would it be and why?
If I had to pick one iconic piece, present in several Sessùn boutiques, it would be BUFFALO MOON. This sculptural piece, which I hand-shape and decorate using natural pigments I collect, embodies everything I’ve spoken about: the power of femininity, mythology, and the idea of a magical object for the home.
Between Barcelona and the Ebro Delta countryside, how does your environment shape your inspiration and artistic practice?
The contrast between urban life in Barcelona and the tranquility of the Ebro Delta countryside greatly enriches our daily life. The city brings vibrant energy, cultural richness, and wonderful interactions—my two boys are passionate about skateboarding, and they are gaining more and more independence... The countryside, on the other hand, offers us silence, nature, and a simple way of living, with solar panels and a rainwater tank. A small white house, once home to olive growers, full of charm. This is also where we take long walks, and where I gather most of the natural pigments I use to decorate my ceramics.
Your home-studio in the heart of nature seems to be central to your creative process. Can you describe a typical day in this space?
My house-studio, nestled in nature, is a true sanctuary and refuge. A typical day often starts with morning silence, birdsong, and a walk with Nala, our dog. With my children, Marius and Billy, we love doing small grocery runs in the village, often on foot—the walk is stunning. I take the opportunity to gather thyme for our evening herbal teas. On an ideal day, the boys open their restaurant, "Les Frères," present me with a menu, and cook for me while I work in my outdoor studio, just behind the house. Later, we play, read, and in summer, we often head to the beach. I work in between moments; I’ve learned to adapt. That’s just how it is until the children grow up. I don’t resist it—instead, I see it as a "limitation-advantage," a source of energy, a way of working.
What message do you hope to convey to those who discover and interact with your work?
Through my work, I want to share a message of strength, poetry, and sisterhood.
What are your ambitions for Oikos Estudio?
My ambition for Oikos Estudio is to continue exploring and pushing the boundaries of multidisciplinary creation by incorporating new techniques—eventually working with wood, metal, and glass. I aspire to exhibit more frequently in art galleries while continuing to showcase my work in select boutiques and showrooms I love, like Sessùn. I am creating larger, more voluminous pieces, and if all goes well, acquiring a much bigger ceramic kiln in 2025 will allow me to fully develop in this direction. Above all, my ambition is to keep working, "keep the process and do the job," every day, and to gain the recognition necessary to continue creating, growing in my art, and supporting my wonderful little family through it. For me, art is a way to weave connections, tell stories, and build a world that is more beautiful, humble, and sincere. And we need that so much.
DISCOVER PASCALE ZINTZEN'S LOOK
