Born in France in 1975, Safia Hijos discovered sculpture in her adolescence. And despite the academic style of her work at the time, which consisted more of reproducing busts in the manner of Donatello, the passion was awoken.
After studying law and several years in legal practice, she left that world in order to return to her first passion.
Safia’s work develops a full correlation between the importance of memory, the imprint and time, with the context in which these subjects are recorded. The complexity of her body of work is nonetheless marked by significant lightness. Many of her subjects are handled with a humorous touch, creating a perfect connection between this ancestral artisanal practice and the very topical subjects which are the source for her work.
Faced with the work of Safia Hijos, we become aware of our place as a spectator of the time in which we live, in the richness, the seriousness as well as the lightness of her work. Is this not one of the shared functions of Art and the porcelain objects that we have come into contact with throughout our existence?