Catalan potters Jordi Marcet (1949) and Rosa Vila-Abadal (1950) began their studies of ceramics at the Massana school and design studies at the Eina school. In 1967 they worked in the workshop of the potters Jordi Aguadé and Jordi Ancil. Later, they founded several workshops together with other ceramists: Am Terrissaires (1969), where the contemporanization of the forms and the technique of the popular Catalan ceramics work, and L’au Cal·ligràfica (1973), where they start work with stoneware. and the design of pieces of daily use. Since 1977, the two artists decide to set up the Quart Creixent workshop separately, where they will continue the work with the stoneware and the design of utilitarian pieces. It is from 1989, that Jordi Marcet and Rosa Vila-Abadal embark on their artistic careers as potters exposing their pieces in galleries and museums in Europe and in countries such as Brazil and Japan. The artists work their pieces with white stoneware at high temperature and with colors of their own making. Without abandoning the distinctive sign that characterizes their pieces, and which singles them out as artists, Jordi Marcet and Rosa Vila-Abadal have started a new creative stage that gives way to a more abstract contemporary reflection, bordering on the limit of the sculptural, but always remaining in the painstaking work of form and drawing, and never moving away from what shapes the essence of his work and defines them as artists: the ceramics.
I keep alive the memory of the first time I met Jordi Marcet and Rosa Vila-Abadal, and the sensations I had when contemplating his work for the first time. They were presented to me as “some artists who work with ceramics”. Then, at that time, I knew nothing about artistic ceramics. Well, I had a very vague and confused knowledge, only identified the potters as a people who worked with clay, craftsmen who made very beautiful pieces that one could then use. I recognized, intuitively, the value of those pieces molded by hand, carefully worked with the lathe, and nothing else. The memory and the sensation of that first encounter is so alive because from that moment I really knew ceramics, I learned to understand it and above all to love it. It has been hours, days and years of long talks with the artists, contemplating the day-to-day work, asking many questions, receiving multiple answers, learning and rediscovering the infinite possibilities of expression that are hidden behind the ceramics.
From the work of Jordi Marcet and Rosa Vila-Abadal, one is surprised at the strength of the drawing and the color of the pieces. It is the first impact. It is not very common to find potters who treat so profusely the pictorial part of the pottery, although in Catalonia, traditional pottery was already very painted. Both artists have always confessed that they dress their pieces with a second skin (a singular fact in ceramics, which tends to be very sculptural or material) and that far from appearing to be an addition to the form, a simple support, this skin covers the piece to get to fuse with the form and create a whole. This form-drawing communion has always been a distinctive sign in his work. Although the years pass, against any change resulting from evolution as artists, one will always recognize the work of Jordi Marcet and Rosa Vila-Abadal.